The painters of high renown, all those whose works proclaim genius, have excelled in the delineation of the beautiful; but how small is their number compared to the vast craved who have strained every nerve to depict beauty and have only left us mediocrity!
If a painter could be dispensed from making his works beautiful, every man might be an artist; for nothing is easier than to fashion ugliness, and brush and canvas would be as easy to handle as mortar and trowel.
Although portrait-painting is the most important branch of the art, it is to be noted that those who have succeeded in this line are very few. There are three kinds of portraits: ugly likenesses, perfect likenesses, and those which to a perfect likeness add an almost imperceptible character of beauty. The first class is worthy only of contempt and their authors of stoning, for to want of taste and talent they add impertinence, and yet never seem to see their failings. The second class cannot be denied to possess real merit; but the palm belongs to the third, which, unfortunately, are seldom found, and whose authors deserve the large fortunes they amass. Such was the famous Notier, whom I knew in Paris in the year 1750. This great artist was then eighty, and in spite of his great age his talents seemed in all their freshness. He painted a plain woman; it was a speaking likeness, and in spite of that those who only saw the portrait pronounced her to be a handsome woman. Nevertheless, the most minute examination would not have revealed any faithlessness to the original, but some imperceptible touches gave a real but indefinite air of beauty to the whole. Whence does that magic art take its source? One day, when he had been painting the plain- looking "Mesdames de France," who on the canvas looked like two Aspasias, I asked him the above question. He answered:--
"It is a magic which the god of taste distils from my brains through my brushes. It is the divinity of Beauty whom all the world adores, and which no one can define, since no one knows of what it consists. That canvas shews you what a delicate shade there is between beauty and ugliness; and nevertheless this shade seems an enormous difference to those unacquainted with art."
The Greek painters made Venus, the goddess of beauty, squint-eyed, and this odd idea has been praised by some; but these painters were certainly in the wrong.
Two squinting eyes might be beautiful, but certainly not so beautiful as if they did not squint, for whatever beauty they had could not proceed from their deformity.
After this long digression, with which the reader may not be very well pleased, it is time for me to return to my sweetheart. The tenth day of my visit to Lausanne, I went to sup and sleep with my mistress, and that night was the happiest I remember. In the morning, while we were taking coffee with her mother, I observed that we seemed in no hurry to part. At this, the mother, a woman of few words, took up the discourse in a polite and dignified manner, and told me it was my duty to undeceive Lebel before I left; and at the same time she gave me a letter she had had from him the evening before. The worthy man begged her to remind me that if I could not make up my mind to separate from her daughter before I left Lausanne, it would be much more difficult for me to do so when I was farther off; above all, if, as would probably be the case, she gave me a living pledge of her love. He said that he had no thoughts of drawing back from his word, but he should wish to be able to say that he had taken his wife from her mother's hands.
When I had read the letter aloud, the worthy mother wept, and left us alone. A moment's silence ensued, and with a sigh that shewed what it cost her, my dear Dubois had the courage to tell me that I must instantly write to Lebel to give up all pretensions to her, or to come and take her at once.
"If I write and tell him to think no more of you, I must marry you myself."
"No."
With this no she arose and left me.