The evening tribune. (Pawtucket, R.I.) 189?-190?, 1897-04-24
THE TWO GLORIES.

through the cathedrals of Madrid, accom-
panied by his pupils, he entered the church
of a humble convent whose name tradition
does not mention.
The illustrious artist found little to ad-
mire in the poor and dismantled edifioe.
He was about to go away, swearing at the
bad taste Of the priests of Madrid, when
he noticed picture half hidden In the
shadow of the ugliest chapel Of ALL He ap-
preached it and uttered an exclamation of
surprise. HIS pupils surrounded him in
u moment, crying, "What have you found,
maestro?"
Look" said Rubens, pointing to the
canvas before him.
The young men were as much astonished
as their master.
The painting represented the death Of a
monk. He was very young and still beau
tiful, despite traces of the fasting and suf
fering he had undergone. He lay extended
on the bricks of his cell. His eyes were
already dimmed by death. One hand held
a skull, while the other pressed to his
heart crucifix Of wood and copper. On
the background of the canvas another pic
ture was painted. 1t was supposed to be
hanging ON the wall of the cell over the
narrow cot from which the young monk
had crept to die more humbly on the floor
The secon' picture depicted a young
woman, beautiful in death, lying in her
coffin in the midst of sumptuous black
draperies and surrounded by funeral can
dies.
No one could look upon those two scenes,
one contained within the other, without
feeling that they explained and completed
each other. Unfortunate love, dead hope,
a disappointed life and eternal forgetful-
ness of the world-behold here the mystic
rious drama of tho canvas Moreover, the
color, the drawing, the composition, all
revealed q genius of the first order.
Maestro, who can be the author Of this
magnificent paintingf" asked Rubens'
pupils, crowding about the picture.
IA name was painted in this corner;
but, you see, it has been effaced. As to the
painting, il Is not more than 80 or less
than 90 years old"
But the artists" they clamored.
1.-The artist, according to the merit Of
the work, might be Velasquez, Zubaran,
Ribera or even the young Murillo him
self Velasquez has not 80 much feeling
as this shows Neither is it work of Zu-
baran's, if i judge rightly the coloring
and the manner of treating the subject.
Still less can 1t be attributed to Murillo or
Ribera. Their style Is lighter, while this
Is moro somber. This picture belongs
neither to one school nor to the other.
Frankly do not recognize the author OF
this painting, and l could swear that |.
had never seen any other works Of his.
Further believe that the artist perhaps
already dead, who has given such Won
der to the world did not belong to any
school, nor has he ever painted any other
picture besides this. He could not paint
another that would approach it in merit.
This is work of pure inspiration, re
Election of his own SOUL a piece of his life.
But--do you want to know who painted
that pictureg The dead man before you
painted it'll"
"Eh! Maestro, you are jesting."
mo. / know what l am saying" an
swered Rubcns.
but how can you conceive Of q dead
man painting his own death agony"
by conceivng that a living being could
divine or represent his death. Moreover,
you know that to DE admitted into certain
religious orders one must De dead to the
world"
"Ah, do you believe that"
II believe that the woman whose form
In painted on the background Of this pic
ture was the soul and life of that man dy
ing on the floor. / believe that when she
died no also considered himself dead to
the world. 1 believe finally that this paint
ing, instead of representing the last mo-
ments of it's hero and author, who are un.
doubtedly one person, represents the re-
nlinciation of a youth disillusioncd as u
earthly joys"
$50 you think that ne still liyes!"
Yes senior, he may be alive, and with
the lapse of years perhaps his spirit has be-
come serene and joyful, and the unknown
artist may bc a very fat and jolly old man.
Nevertheless we must look for him. We
must find out whether he has painted 9th
er pictures. Follow me.
AS he spoke Rubens walked toward a
priest who was praying In another chapel
and asked, with his usual freedom Of man
ner
"will you be Kind enough to- tell the
padre prior that wish To speak with him
by the kings ordersf''
The priest, who was an elderly man,
arose from his knees with difficulty and
answered i'm % humbl and feeble voice:
what do YOU wish with me. am tn,
prior"
Pardon. father, for intgyrupting yonr
prayers" {" replied Rubens. Can you tell
me who is the author of this paintiDg!"
"Of that painting exclaimed the
monk. What would you think of me IL
should tell you that do not remembers"
what You knew and you have forgot
tenn"
"GUs, son, 1 have forgotten"
Then, padre" said Rubens insolcntly,
"Iwould not give much for your memory. y
The prior, paying no attention To the
| painter, again knelt on the ground.
II come i'm tho king s name ~ thunderet
the naughty Fleming.
What further do you wish, brothcry
murmurcd the priest, slowly raising hi
| head.
wish &c buy that painting.
The painting Is not for sale. -
We'll, then. where can | find the artist
His majesty would like to know him, an,
1 must embrace him, congratulate him
show my admiration ana my affection 70
him. 1
NNa.tr xriukos ..O...t 4. ...ls.-.l III,