Watertown republican. [volume] (Watertown, Wis.) 1860-1906, 1876-12-13
AN ARTISTS LOVE.

AIN AN llOl y LOVL.
ssTurn thy head little more to the
right, Gigia cara, and lift thy right
hand higher. There that position is
excellent. Thou shalt rest in a few mo
ments. ben anaata."
Gigia smiled, to assure the artist that
it was anything but wearisome for her
to cit to him, and then, as if afraid that
by her very smiling she should disturb
her carefully arranged pose, her lips
closed and. assumed a serious expression,
though her eyes still shone and sparkled
witt, laughter. They fixed themselves
on Antonio Ferretti's face, bent SO ear
nestly md lovingly to his work. When
ever bis gaze met hers, she retained the
same bright look; SO soon as his atten-
ton was riveted on the canvass, those
black eyes of hers changed. They be
came grave, then crafty, and glanced
furtively around the room, uneasily
resting low on one picture, now on
another.
In the silence that followed Antonio
words. let US take nearer view of the
scene. The studio is large, we'll light
ed and cheerful. The floor is bare,
save for Turkish rug spread over the
small platform, on which Gigia is sit
ting, and behind which stands long
folding screen, dark green in color,
serving the double purpose of shutting
of all draught from the door behind.
The ceiling is covered with whole
army of Cupids, which Antonio, at the
risk Of breaking his neck, has placed
there with his own ready brushes and
paints.
1t is more than likely that New
England housekeeper would object to
his room on the score of it's being in
disorder; but the confusion at least is
artistic, and there is no dust allowed to
rest on any spot. In one corner is a
pile of many-colored garments; Turkish
costumes, Egyptian mantles, Roman
peasant dress, turbans, sandals, cloaks,
shawls of every Lue and variety, are
lying IN mass, ready to be taken forth
at the artists pleasure, and draped
around the form of some model.
In another corner stands a plaster
cast Of the Apollo Belvedere, erect with
S consciousness of his own beauty. OPP
posite smiles the Medicean Venus; and
not far off the Beauty of the Louvre
gazes Gas we'll IS she possibly can with
her plaster eyes, on her Florentine
rival with an air that seems to say, "I,
with my dignity, am not afraid of you,
with your perfection of grace. Vari-
GUS other plaster faces hang against the
wall. and here and there an arm, hand,
or foot. And then the paintings All,
they speak for themselves. No need of
extolling that representation of the I'M
mortal Dane turning once more to gaze
on Florence ere he, an exile, leaves it
forever. The dignity and the grief of
his form and countenance are blended
with such harmonious tints that one
stands before the picture rendered
speeches. by admiration. And that
fairy-hke and fanciful imagining of
Undine at the moment when she, be.
cause of the angry words spoken by her
husband, IS being drawn down by her
kindred to her home beneath the
waves, leaving Hildebrand and
Bertha in the boat aghast at
their work. No praises could add to
the beauty of this painting. The scene
touches the heart before the words have
time to reach the lips.
Other pictures there are, the subjects
drawn from sacred and profane history,
mythology, books of poetry and of
prose; all finely done; all showing pow
er, strength of conception aid execu-
tion, and at the same time certain
careful selection Of the softest and most
delicate colors.
The furniture in the room is of the
simplest description, for Antonio Fer
retti is not yet wealthy. Fame has
raised her trumpet for him nearly to
her lips, but until the blast comes, full
and long and clear, as it surely will in
q short while, it takes all that he can
earn. to provide for his living, and to
pay for his models and other artistic
necessities.
And now let us cast glance on the
spirit Of this studio, as he stands before
his easel-the tall. handsome, manly
artist. He INDUCES in none of the
eccentricities of genius; his black locks
are thick and curling, but they are not
allowed to fall to his shoulders. His
attire, like that of any other gentleman,
and color, is faultlessly neat. His
lace, Oh IsOman type (IOr AntOn1O,
though res ding in Florence, is native
of the Eternal City shows determine
ton, perseverance and enthusiasm
true ingredients of genius. If we
observe it more closely. we may see by
the now half hidden CLEAN in his dark
ewes that he has the Southron's passion
ate temper; that in moment of sudden
anger he might be led to commit deeds
unworthy Of his noble nature. But
the wide, open brow, and certain lines
about the mouth, show us that he has in
part learned to keep control over him
i, and that If, IN an outburst of