The light-hearted young fellows stood their misery without difficulty and, to make up for it, what a fill of fancies they had, what a glorious feast of hopes! A new discovery every day. Renovales ran through the realm of art like a wild colt, seeing new horizons spreading out before him, and his career caused an outburst of scandal that amounted to premature celebrity. The old men said that he was the only boy who "had the stuff in him"; his comrades declared that he was a "real painter,"
and in their iconoclastic enthusiasm compared his inexperienced works with those of the recognized old masters--"poor humdrum artists" on whose bald pates they felt obliged to vent their spleen in order to show the superiority of the younger generation.
Renovales" candidacy for the fellowship at Rome caused a veritable revolution. The younger set, who swore by him and considered him their ill.u.s.trious captain, broke out in threats, fearful lest the "old boys"
should sacrifice their idol.
When at last his manifest superiority won him the fellowship, there were banquets in his honor, articles in the papers, his picture was published in the ill.u.s.trated magazines, and even the old blacksmith made a trip to Madrid, to breathe with tearful emotion part of the incense that was burned for his son.
In Rome a cruel disappointment awaited Renovales. His countrymen received him rather coldly. The younger men looked on him as a rival and waited for his next works with the hope of a failure; the old men who lived far from their fatherland examined him with malignant curiosity.
"And so that big chap was the blacksmith"s son, who caused so much disturbance among the ignorant people at home!... Madrid was not Rome.
They would soon see what that _genius_ could do!"
Renovales did nothing in the first months of his stay in Rome. He answered with a shrug of his shoulders those who asked for his pictures with evident innuendo. He had come there not to paint but to study; that was what the State was paying him for. And he spent more than half a year drawing, always drawing in the famous art galleries, where, pencil in hand, he studied the famous works. The paint boxes remained unopened in one corner of the studio.
Before long he came to detest the great city, because of the life the artists led in it. What was the use of fellowships? People studied less there than in other places. Rome was not a school, it was a market. The painting merchants set up their business there, attracted by the gathering of artists. All--old and beginners, famous and unknown--felt the temptation of money; all were seduced by the easy comforts of life, producing works for sale, painting pictures in accordance with the suggestions of some German Jews who frequented the studios, designating the sizes and the types that were in style in order to spread them over Europe and America.
When Renovales visited the studios, he saw nothing but _genre_ pictures, sometimes gentlemen in long dress coats, others tattered Moors or Calabrian peasants. They were pretty, faultless paintings, for which they used as models a manikin, or the families of _ciociari_ whom they hired every morning in the Piazza di Espagna beside the Sealinata of the Trinity; the everlasting country-woman, swarthy and black-eyed, with great hoops in her ears and wearing a green skirt, a black waist and a white head-dress caught up on her hair with large pins; the usual old man with sandals, a woolen cloak and a pointed hat with spiral bands on his snowy head that was a fitting model for the Eternal Father. The artists judged each other"s ability by the number of thousand lire they took in during a year; they spoke with respect of the famous masters who made a fortune out of the millionaires of Paris and Chicago for easel-pictures that n.o.body saw. Renovales was indignant. This sort of art was almost like that of his first master, even if it was "worldly"
as Don Rafael had said. And that was what they sent him to Rome for!
Unpopular with his countrymen because of his brusque ways, his rude tongue and his honesty, which made him refuse all commissions from the art merchants, he sought the society of artists from other countries.
Among the cosmopolitan group of young painters who were quartered in Rome, Renovales soon became popular.
His energy, his exuberant spirits, made him a congenial, merry comrade, when he appeared in the studios of the Via di Babuino or in the chocolate rooms and cafes of the Corso, where the artists of different nationalities gathered in friendly company.
Mariano, at the age of twenty, was an athletic fellow, a worthy scion of the man who was pounding iron from morning till night in a far away corner of Spain. One day an English youth, a friend of his, read him a page of Ruskin in his honor. "The plastic arts are essentially athletic." An invalid, a half paralyzed man, might be a great poet, a celebrated musician, but to be a Michael Angelo or a t.i.tian a man must have not merely a privileged soul, but a vigorous body. Leonardo da Vinci broke a horseshoe in his hands; the sculptors of the Renaissance worked huge blocks of marble with their t.i.tanic arms or chipped off the bronze with their gravers; the great painters were often architects and, covered with dust, moved huge ma.s.ses. Renovales listened thoughtfully to the words of the great English aestheticist. He, too, was a strong soul in an athlete"s body.
The appet.i.tes of his youth never went beyond the manly intoxications of strength and movement. Attracted by the abundance of models which Rome offered, he often undressed a _ciociara_ in his studio, delighting in drawing the forms of her body. He laughed, like the big giant that he was, he spoke to her with the same freedom as if she were one of the poor women that came out to stop him at night as he returned alone to the Academy of Spain, but when the work was over and she was dressed--out with her! He had the chast.i.ty of strong men. He worshiped the flesh, but only to copy its lines. The animal contact, the chance meeting, without love, without attraction, with the inner reserve of two people who do not know each other and who look on each other with suspicion, filled him with shame. What he wanted to do was to study, and women only served as a hindrance in great undertakings. He consumed the surplus of his energy in athletic exercise. After one of his feats of strength, which filled his comrades with enthusiasm, he would come in fresh, serene, indifferent, as though he were coming out of a bath. He fenced with the French painters of the Villa Medici; learned to box with Englishmen and Americans; organized, with some German artists, excursions to a grove near Rome, which were talked about for days in the cafes of the Corso. He drank countless healths with his companions to the Kaiser whom he did not know and for whom he did not care a rap. He would thunder in his noisy voice the traditional _Gaudeamus Igitur_ and finally would catch two models of the party around the waist and with his arms stretched out like a cross carry them through the woods till he dropped them on the gra.s.s as if they were feathers. Afterwards he would smile with satisfaction at the admiration of those good Germans, many of them sickly and near-sighted, who compared him with Siegfried and the other muscular heroes of their warlike mythology.
In the Carnival season, when the Spaniards organized a cavalcade of the Quixote, he undertook to represent the knight Pentapolin--"him of the rolled-up sleeves,"--and in the Corso there were applause and cries of admiration for the huge biceps that the knight-errant, erect on his horse, revealed. When the spring nights came, the artists marched in a procession across the city to the Jewish quarter to buy the first artichokes--the popular dish in Rome, in the preparation of which an old Hebrew woman was famous. Renovales went at the head of the _carciofalatta_, bearing the banner, starting the songs which were alternated with the cries of all sorts of animals; and his comrades marched behind him, reckless and insolent under the protection of such a chieftain. As long as Mariano was with them there was no danger. They told the story that in the alleys of the Trastevere he had given a deadly beating to two bullies of the district, after taking away their stilettos.
Suddenly the athlete shut himself up in the Academy and did not come down to the city. For several days they talked about him at the gatherings of artists. He was painting; an exhibition that was going to take place in Madrid was close at hand and he wanted to take to it a picture to justify his fellowship. He kept the door of his studio closed to everyone, he did not permit comment nor advice, the canvas would appear just as he conceived it. His comrades soon forgot him and Renovales ended his work in seclusion, and left for his country with it.
It was a complete success, the first important step on the road that was to lead him to fame. Now he remembered with shame, with remorse, the glorious uproar his picture "The Victory of Pavia" stirred up. People crowded in front of the huge canvas, forgetting the rest of the Exhibition. And as, at that time, the Government was strong, the Cortes was closed and there was no serious accident in any of the bull-rings, the newspapers, for lack of any more lively event, hastened in cheap rivalry to reproduce the picture, to talk about it, publishing portraits of the author, profiles, as well as front views, large and small, expatiating on his life in Rome and his eccentricities, and recalled with tears of emotion the poor old man who far away in his village was pounding iron, hardly knowing of his son"s glory.
With one bound Renovales pa.s.sed from obscurity to the light of apotheosis. The older men whose duty it was to judge his work became benevolent and extended kindly sympathy. The little tiger was getting tame. Renovales had seen the world and now he was coming back to the good traditions; he was going to be a painter like the rest. His picture had portions that were like Velasquez, fragments worthy of Goya, corners that recalled El Greco; there was everything in it, except Renovales, and this amalgam of reminiscences was its chief merit, what attracted general applause and won it the first medal.
A magnificent debut it was. A dowager d.u.c.h.ess, a great protectress of the arts, who never bought a picture or a statue but who entertained at her table painters and sculptors of renown, finding in this an inexpensive pleasure and a certain distinction as an ill.u.s.trious lady, wished to make Renovales" acquaintance. He overcame the stand-offishness of his nature that kept him away from all social relations. Why should he not know high society? He could go wherever other men could. And he put on his first dress-coat, and after the banquets of the d.u.c.h.ess, where his way of arguing with members of the Academy provoked peals of merry laughter, he visited other salons and for several weeks was the idol of society which, to be sure, was somewhat scandalized by his faux pas, but still pleased with the timidity that overcame him after his daring sallies. The younger set liked him because he handled a sword like a Saint George. Although a painter and son of a blacksmith, he was in every way a respectable person. The ladies flattered him with their most amiable smiles, hoping that the fashionable artist would honor them with a portrait gratis, as he had done with the d.u.c.h.ess.
In this period of high-life, always in dress clothes from seven in the evening, without painting anything but women who wanted to appear pretty and discussed gravely with the artist which gown they should put on to serve as a model, Renovales met his wife Josephina.
The first time that he saw her among so many ladies of arrogant bearing and striking presence, he felt attracted towards her by force of contrast. The bashfulness, the modesty, the insignificance of the girl impressed him. She was small, her face offered no other beauty than that of youth, her body had the charm of delicacy. Like himself, the poor girl was there out of a sort of condescendence on the part of the others; she seemed to be there by sufferance and she shrank in it, as if afraid of attracting attention, Renovales always saw her in the same evening gown somewhat old, with that appearance of weariness which a garment constantly made over to follow the course of the fashions is wont to acquire. The gloves, the flowers, the ribbons had a sort of sadness in their freshness, as if they betrayed the sacrifices, the domestic exertions it had taken to procure them. She was on intimate terms with all the girls who made a triumphal entrance into the drawing-rooms, inspiring praise and envy with their new toilettes; her mother, a majestic lady, with a big nose and gold gla.s.ses, treated the ladies of the n.o.blest families with familiarity; but in spite of this intimacy there was apparent around the mother and daughter the gap of somewhat disdainful affection, in which commiseration bore no small part. They were poor. The father had been a diplomat of some distinction who, at his death, left his wife no other source of income than the widow"s pension. Two sons were abroad as attaches of an emba.s.sy, struggling with the scantiness of their salary and the demands of their position. The mother and daughter lived in Madrid, chained to the society in which they were born, fearing to abandon it, as if that would be equivalent to a degradation, remaining during the day in a fourth-floor apartment, furnished with the remnants of their past opulence, making unheard-of sacrifices in order to be able in the evening to rub elbows worthily with those who had been their equals.
Some relative of Dona Emilia, the mother, contributed to her support, not with money (never that!) but by loaning her the surplus of their luxury, that she and her daughter might maintain a pale appearance of comfort.
Some of them loaned them their carriage on certain days, so that they might drive through the Castellana and the Retiro, bowing to their friends as the carriages pa.s.sed; others sent them their box at the Opera on evenings when the bill was not a brilliant one. Their pity made them remember them, too, when they sent out invitations to birthday dinners, afternoon teas, and the like. "We mustn"t forget the Torrealtas, poor things." And the next day, the society reporters included in the list of those present at the function "the charming Senorita de Torrealta and her distinguished mother, the widow of the famous diplomat of imperishable memory," and Dona Emilia, forgetting her situation, fancying she was in the good old times, went to everything, in the same black gown, annoying with her "my dears" and her gossip the great ladies whose maids were richer and ate better than she and her daughter. If some old gentleman took refuge beside her, the diplomat"s wife tried to overwhelm him with the majesty of her recollections. "When we were amba.s.sadors in Stockholm." "When my friend Eugenie was empress...."
The daughter, endowed with her instinctive girlish timidity, seemed better to realize her position. She would remain seated among the older ladies, only rarely venturing to join the other girls who had been her boarding-school companions and who now treated her condescendingly, looking on her as they would upon a governess who had been raised to their station, out of remembrance for the past. Her mother was annoyed at her timidity. She ought to dance a lot, be lively and bold, like the other girls, crack jokes, even if they were doubtful, that the men might repeat them and give her the reputation of being a wit. It was incredible that with the bringing up she had had, she should be so insignificant. The idea! The daughter of a great man about whom people used to crowd as soon as he entered the first salons in Europe! A girl who had been educated at the school of the Sacred Heart in Paris, who spoke English, a little German, and spent the day reading when she did not have to clean a pair of gloves or make over a dress! Didn"t she want to get married? Was she so well satisfied with that fourth-story apartment, that wretched cell so unworthy of their name?
Josephina smiled sadly. Get married! She never would get to that in the society they frequented. Everyone knew they were poor. The young men thronged the drawing-rooms in search of women with money. If by chance one of them did come up to her, attracted by her pale beauty, it was only to whisper to her shameful suggestions while they danced; to propose uncompromising engagements, friendly relations with a prudence modeled on the English, flirtations that had no result.
Renovales did not realize how his friendship with Josephina began.
Perhaps it was the contrast between himself and the little woman who hardly came up to his shoulder and who seemed about fifteen when she was already past twenty. Her soft voice with its slight lisp came to his ears like a caress. He laughed when he thought of the possibility of embracing that graceful, slender form; it would break in pieces in his pugilist"s hands, like a wax doll. Mariano sought her out in the drawing-rooms which she and her mother were accustomed to frequent, and spent all the time sitting at her side, feeling an impulse to confide in her as a brother, a desire of telling her all about herself, his past, his present work, his hopes, as if she were a room-mate. She listened to him, looking at him with her brown eyes that seemed to smile at him, nodding a.s.sent, often without having heard what he said, receiving like a caress the exuberance of that nature which seemed to overflow in waves of fire. He was different from all the men she had known.
When someone--n.o.body knows who--perhaps one of Josephina"s friends, noticed this intimacy, to make sport of her, she spread the news. The painter and the Torrealta girl were engaged. That was when the interested parties discovered that they loved each other. It was something more than friendship that made Renovales pa.s.s through Josephina"s street mornings, looking at the high windows in the hope of seeing her dainty silhouette through the panes. One night at the d.u.c.h.ess" when they were left alone in the hallway, Renovales caught her hand and lifted it to his lips, but so timidly that they scarcely touched her glove. He was afraid after his rudeness, felt ashamed of his violence; he thought he was hurting the delicate, slender girl; but she let her hand stay in his, and at the same time bowed her head and began to cry.
"How good you are, Mariano!"
She felt the most intense grat.i.tude, when she realized that she was loved for the first time; loved truly, by a man of some distinction, who fled from the women of fortune to seek a humble, neglected girl like her. All the treasures of affection which had been acc.u.mulating in the isolation of her humiliating life overflowed. How she could love the man who loved her, taking her out of that parasite"s existence, lifting her by his strength and affection to the level of those who scorned her!
The n.o.ble widow of Torrealta gave a cry of indignation when she learned of the engagement of the painter and her daughter. "The blacksmith"s son!" "The ill.u.s.trious diplomat of imperishable memory!" But as if this protest of her pride opened her eyes, she thought of the years her daughter had spent going from one drawing-room to another, without anyone paying any attention to her. What dunces men were! She thought, too, that a celebrated painter was a personage; she remembered the articles devoted to Renovales because of his last picture, and, above all, a thing that had the most effect on her, she knew by hearsay of the great fortune that artists ama.s.sed abroad, the hundreds of thousands of francs paid for a canvas that could be carried under your arm. Why might not Renovales be one of the fortunate?
She began to annoy her countless relatives with requests for advice. The girl had no father and they must take his place. Some answered indifferently. "The painter! Hump! Not bad!" evidencing by their coldness that it was all the same to them if she married a tax-collector. Others insulted her unwittingly by showing their approval. "Renovales? An artist with a great future before him. What more do you want? You ought to be thankful he has taken a fancy to her."
But the advice that decided her was that of her famous cousin, the Marquis of Tarfe, a man to whom she looked upon as the most distinguished citizen in the country, without doubt because of his office as permanent head of the Foreign Service, for every two years he was made Minister of Foreign Affairs.
"It looks very good to me," said the n.o.bleman, hastily, for they were waiting for him in the Senate. "It is a modern marriage and we must keep up with the times. I am a conservative, but liberal, very liberal and very modern. I will protect the children. I like the marriage. Art joining its prestige with a historic family! The popular blood that rises through its merits and is mingled with that of the ancient n.o.bility!"
And the Marquis of Tarfe, whose marquisate did not go back half a century, with these rhetorical figures of an orator in the Senate and his promises of protection, convinced the haughty widow. She was the one who spoke to Renovales, to relieve him of an explanation that would be trying because of the timidity he felt in this society that was not his own.
"I know all about it, Mariano, my dear, and you have my consent."
But she did not like long engagements. When did he intend to get married? Renovales was more eager for it than the mother. Josephina was different from other women who hardly aroused his desire. His chast.i.ty, which had been like that of a rough laborer, developed into a feverish desire to make that charming doll his own as soon as possible. Besides, his pride was flattered by this union. His fiancee was poor; her only dowry was a few ragged clothes, but she belonged to a n.o.ble family, ministers, generals--all of n.o.ble descent. They could weigh by the ton the coronets and coats-of-arms of those countless relatives who did not pay much attention to Josephina and her mother, but who would soon be his family. What would Senor Anton think, hammering iron in the suburbs of his town? What would his comrades in Rome say, whose lot consisted in living with the _ciociari_ who served as their models, and marrying them afterward out of fear for the stiletto of the venerable Calabrian who insisted on providing a legitimate father for his grandsons!
The papers had much to say about the wedding, repeating with slight variations the very phrases of the Marquis of Tarfe, "Art uniting with n.o.bility." Renovales wanted to leave for Rome with Josephina as soon as the marriage was celebrated. He had made all the arrangements for his new life there, investing in it all the money he had received from the State for his picture and the product of several pictures for the Senate for which he received commissions through his ill.u.s.trious relative-to-be.
A friend in Rome (the jolly Cotoner) had hired for him an apartment in the Via Margutta and had furnished it in accordance with his artistic taste. Dona Emilia would remain in Madrid with one of her sons, who had been promoted to a position in the Foreign Office. Everybody, even the mother, was in the young couple"s way. And Dona Emilia wiped away an invisible tear with the tip of her glove. Besides, she did not care to go back to the countries where she had been _somebody_; she preferred to stay in Madrid; there people knew her at least.
The wedding was an event. Not a soul in the huge family was absent; all feared the annoying questions of the ill.u.s.trious widow who kept a list of relatives to the sixth remove.
Senor Anton arrived two days before, in a new suit with knee-breeches and a broad plush hat, looking somewhat confused at the smiles of those people who regarded him as a quaint type. Crestfallen and trembling in the presence of the two women, with a countryman"s respect, he called his daughter-in-law "Senorita."
"No, papa, call me "daughter." Say Josephina to me."
But in spite of Josephina"s simplicity and the tender grat.i.tude he felt when he saw her look at his son with such loving eyes, he did not venture to take the liberty of speaking to her as his child and made the greatest efforts to avoid this danger, always speaking to her in the third person.
Dona Emilia, with her gold gla.s.ses and her majestic bearing, caused him even greater emotion. He always called her "Senora marquesa," for in his simplicity he could not admit that that lady was not at least a marchioness. The widow, somewhat disarmed by the good man"s homage, admitted that he was a "rube" of some natural talent, a fact that made her tolerate the ridiculous note of his knee breeches.
In the chapel of the Marquis of Tarfe"s palace, after looking dumbfounded at the great throng of n.o.bility that had gathered for his son"s wedding, the old man, standing in the doorway, began to cry:
"Now I can die, O Lord. Now I can die!"
And he repeated his sad desire, without noticing the laughter of the servants, as if, after a life of toil, happiness were the inevitable forerunner of death.
The bride and groom started on their trip the same day. Senor Anton for the first time kissed his daughter-in-law on the forehead, moistening it with his tears, and went home to his village, still repeating his longing for death, as though nothing were left in the world for him to hope for.
Renovales and his wife reached Rome after several stops on the way.
Their short stay in various cities of the Riviera, the days in Pisa and Florence, though delightful, as keeping the memory of their first intimacy, seemed unspeakably vulgar, when they were installed in their little house in Rome. There the real honeymoon began, by their own fireside, free from all intrusion, far from the confusion of hotels.
Josephina, accustomed to a life of secret privation, to the misery of that fourth-floor apartment in which she and her mother lived as though they were camping out, keeping all their show for the street, admired the coquettish charm, the smart daintiness of the house in the Via Margutta. Mariano"s friend, who had charge of the furnishing of the house, a certain Pepe Cotoner, who hardly ever touched his brushes and who devoted all his artistic enthusiasm to his worship of Renovales, had certainly done things well.