Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1874-05-23
NO. l22.
THE ART WONDER.
LcoSrrNUED FROM YEsrERDAY.l

LcoNTrNUED FROM YESTERDAY.
Elizabetta's copy had long been finish
ed; Marco Sessi's, however, had pro-
gressed very slowly. At first they worked
together in the Sirani studio, where they
could both use the original portrait at the
same time, while Signor Giovanni sat in
his arm chair, nursed his gout, and
watched the progress Of the contestants.
Elizabetta drew and painted with her usu-
al ease and freedom she seemed 10 have
entirely forgotten what depended upon
the correctness Of her lines and the truth
fulness of her colors. Not so with Marco ;
he would be hardly seated before his easel
with the fixed determination to work
steadily, when his eyes would wander
from Guido Reni's work to the graceful
figure of Elisabetta it was not Beatrice's
lovely features that appeared on his can
vas, but ever and again those of Elisabet-
tas Juno head. After spending hours
thus, and making no progress, Marco
would throw aside his palette and brushes
and seek consolation in a stroll beyond
the limits of the town.
"Marco," said Signor Sirani, one day,
"you are not doing yourself justice-"you
would do better in your own studio. Let
Elizabetta finish her copy, and then you
take the original home, where you can
work undisturbed."
Marco acceded that it would, perhaps,
be better, and came no more but, instead
of really studying Guido in the meantime,
as he pretended to do, he sat listlessly be-
fore the great maestro's works. or listened
to the malevolent counsels of Malvezzi,
who took fiendish delight in picturing
the "proud" Elisabetta as his. And then,
when Elisabetta had finished her copy,
Marco shut himself up with the original,
and refused to admit any one, even NAL
vezzi.
Carefully and securely packed, Elisabet-
ta's copy was sent to the podesta, to be
shown first to the committee chosen to
decide the question of superiority. And
finally Marco announced that his copy was
also finished. and the day for their exhibit
ton was fixed.
1t was bright, cheerful morning, and
all the good people of Bologna who took
any interest in the arts wended their way
toward the Palazzo Publico, where the
committee was assembled. Elisabetta and
her father were of the number. The old
man was serious and thoughtful; his
daughters face, on the contrary, wore
an expression of serene joyousness.
"You will see. Saint AntOniO's day is
lucky day for me, father" said she.
.When kneeled before the picture of the
saint in ST. Leonardo that myself painted,
it seemed to me as if he looked down on
me and smiled, as though he would be my
advocate"
Sirani sighed and replied
but the picture at the Palazzo Publico
is not that of saint, my daughter, but
the portrait of Beatrice Cenci. parri-
eide !'
"But who will assert positively that she
was guilty, and then, ii she was guilty.
who knows what there was to palliate her
great crime There is surely nothing Of
the murderess to be seen in her beautiful
features, or the sweet and innocent ex-
preston of her lovely blue eyes. And
then YOU know it is said, that Guido Reni
saw Beatrice only once. and then in prison,
and that her lovely image made such an
impression on him that he WAS able to
paint it from memory and you know it is
was so mortified that he Stunned women
ever afterward."
Eyes, know" replied Sirani.
who was condemned, but never woman
who was guilty." returned Elisabetta
warmly, and then they silently continued
their way.
Il triumph with you,' said Malvezzi to
Marco, as they went arm-in-arm to the
palazzo:
.And if l do not triumph ?" asked the
young man.
Then | will help you to compass your
revenge'
Adisdainful smile played around Marcos
lips as he shook his head. and said
81 would not survive my shame"
bah! Would you die, and leave the
beautiful Elizabetta to be anOther'S, for,
believe me, her heart is not Of stone. No,
no. let her triumph rather be her ruin!"
Marco stepped back Mortified; then
cried:-
"Am being tempted by the devil him
selfw
The next moment, they entered the
great hall of the palazzO, when their ears
were greeted by three evvivas. The pic
lures had just been unveiled, and the con-
noisseurs approached them with slow and
measured steps. For a moment all was
silent-then resounded from q chorus OF
vOices:-
"Euriua Elisabetta euuira Elisabetta
evrira Elisabetta !" which was the death
sentence of Marco Sessi's work.
Elisabettas copy could be distinguished
only by the freshness of the color from
the lovely head painted by Guido Reni.
Here, as in the original. the same large.
blue, childlike eyes looked out ingenu-
ously upon the world, the same winsome
smile, the same wealth Of golden tresses
clothed a clear and placid brow. Sossi's
copy wore, like the original, white under
garment, a red vestment, and a blue-and-
white striped kerchief around her head !;
but, under this kerchief was the face OF
Elisabetta Sirani rather than that of Bea-
trice eCenci-Elisabetta s features. and hers
only, lived in Marcos soul, and, uncon-
sciously, he had painted them.
An exclamation of surprise was heard
on every hand, and Elisabetta's name was
on the end Of every tongue but. before it
could be spoken Marco rushed through
the crowd, q dagger in his hand. and, he
DESTROYED his picture; then he hastily left