The morning news. [volume] (Savannah, Ga.) 1887-1900, 1888-04-22
THE PAINTER OF PARMA
OR,
The Magic Of a Masterpiece.
An italian Story Of Love, Mys-
terry and Adventure.
BY sYLvANUs COBB. JR.
CHAPTER I,
THE PAINTER AND HIS MODEL.

might have inspired any one whose
ssoul was susceptible to the influence of the
Grand and the beautiful Within stones
throw was the statue of Correggio, whose
masterpieces adorn the city, and constitute
one of its chief attractions; further away,
the great cathedral, with its imposing
arches, and its huge red marble lions, from
4he chisel Of Bono da Bisone. Still further,
and to the right, an extensive garden, full
of bloom and fragrance; and beyond all
this, visible through vista afforded by the
.Emilian Way, were to be seen the green
forest of the Taro. and the towering peaks
of the distant Apennines.
Our painter occupied two apartments,
both of goodly size, well lighted and hand
somely and artistically furnished That in
the rear the windows of which overlooked a
small garden belonging TO the estate, was
used as reception and waiting room; the
other, in front, being the artists studio
proper-his sanctum Sanctorum.
1t was late in the afternoon of a pleasant
day of June. In the rear apartment of the
painters quarters sat a woman, advanced
IN years-three score at least-wearing a
garb as rich in material as any lady in the
land could have desired, yet she had nothing
of the patrician in her appearance, being,
on the contrary, really pebeian. She was,
in truth, but duenna in attendance upon
mistress who occasionally tried her pa
tience as it was certainly being tried now.
She had waited in that room, solitary and
alone she could not tell how long, but it
seemed to her an age. Had she been fond
of pictures; had she loved the beautiful i'll
art or nature; had she been able to trace out
thOughU and feeling and grand conception
in the bold strokes and more gentle passes
10 10,
marble-could she have done this she might
have spent hours in that place and never
thought OF loneSomeness or fatigue, for it
was a repository OF rare paintings and
choice bits of statuary and bas-relief,
gathered through years of earnest search,
with discriminating taste and Judgment,
from many lands.
Dec asionally the duenna would go to one
of the two perhaps step out upon
the balcony, and gaze down upon the gar
den underneath, or away upon other win
dows, with a natural curiosity to see, if pos.
sible, what the neighbors we're doing. When
she returned to the room and resumed her
seat she fixed her eyes upon the lofty arch
within which was the door opening into the
sanctum sanctorum beyond, and once or
twice, probably in fit of forgetfulness,
while pretending to pass to and fro, she
stepped near to the closed passage and bent
her ear as one does who listens.
ALon she tapped the rich mosaic of the
floor with her foot winked aud bliuked her
sharp gray eyes, pursed her thin lips, and
nodded mysterionsly.
Madelon Saudoz was of verify becom
ing weary and impatient; but it was not the
first time she had thus suffered; nor did she
expect il to be the last. Nevertheless, even
a duenna's patience has its limit, and, if her
looks do not belle her, she will ere long
make herself officious.
The apartment beyond the arch-the
studio proper-was different place from
the walting-room, and differently occupied
On the walls were paintings, sketches and
etchings of various degrees of excellence;
several studies by Correggio, two pictures
by Murillo, which the artist had brought
from Spain, besides WORKS from the pencils
of other masters, whose names had become
imperishable. There were choice pieces of
sculpture, too, bestowed in various hooks
and corners, together with chaste and val
tuable bric-a-brac, which we need not par
ticularize.
A peculiar charm of softness-of peace
and restfulness--was cast upon the room
and upon all it contained by the richly
stained glass of the windows and the judici-
Gus arrangement of deiicately tinted screens
and curtains.
Near the center of the studio stood an
easel, supporting canvas, on which was
being created life-Size picture of st.
Cecilia, the young and beautiful Christian
maj tyr of Rome. The body of the picture
was well on the way toward completion.
The figure was represented as leaning on
harp; the mood one of sublime contempla-
tion. The harp was finished, save only
touch here and there, in shading; the back
ground was well-nigh complete, and the
drapery required but little more work. The
face was scarcely more than outlined, but
sufficient had been done to reveal the sur
passing possibilities of the conception.
By the side of his work stood the pain
ter, Juan Zanoni. He was of medium
height and size, possessing a well-knit,
muscular frame, the thews and sinews of
which had been toughened and strength
ened by long continued manly and athletic
exercise The beauty of his face was start
ling. The skin in its purity and whiteneSs
was like unspotted marble. There was a
glow Of perfect health without particle of
flush, though there were times and occa-
sons when sudden and strong emotion
would send the richest carmine to cheek
and brow. The features were of the pure
Italian type; the eyes, large, dreamy and
lustrous, we're of golden brown in color;
though the hair clustering about his mag
nlticent head in silIen curls, was almost
black There were certain lights, however,
IN which a brownish tinge was perception
ble His age-since we know it we may as
month previously he had entered upon his
3Oth year. So he was in the full bloom and
perfectness OF his manhood.
He was clad in light, blouse-like frock,
OF doublet, of rich green velvet, with vest
OF amber-colored satin beneath; the close
hitting small-clothes and silken hose reveal
ing the muscular fullness and statueSque
symmetry of his lower limbs. There was
no confinement of linen gear about the
neck. The collar of his shirt was turned
over the collar of his blouse and simply
confined by light sllken scarf, so loosely
knotted that the white throat was left free
and open.
Near by, reclining upon luxurious vel
Net-oovered ottoman, was the painters
model for his saint. II she had not been
beautiful she would not have been there.
Neither would she have been there had her
beauty been Of the voluptuous cast. or even
Verglng upon it. Hers was most emphati-
caly beauty of purity and truth-a beauty
oil soul and intellect. She was 20 years of
age, with a figure of surprising grace and
I9VelIness, and. But--when we say that
The artist sought no other model-that
she afforded him, i'll form aud feature, all
that be could desire for his most exalted
conception of the person and character Of
The saint-when that is said, surely we need
say no more. Her garb, as we'll as her
Tone and bearing, plainly signified that she
belonged 70 the patrician class.
Aud - 4 ~ ~.