Library of the Worlds Best Literature, Ancient and Modern, Volume 3 | Page 5

and then hastily mount the ladder again in order to add a touch here or there. Irma scarcely ventured to look up at this effigy of herself in Grecian costume--transformed and yet herself. The idea of being thus translated into the purest of art's forms filled her with a tremor, half joy, half fear.
It was on a winter afternoon. Irma was working assiduously at a copy of a bust of Theseus, for it was growing dark. Near her stood her preceptor's marble bust of Doctor Gunther. All was silent; not a sound was heard save now and then the picking or scratching of the chisel.
At that moment the master descended the ladder, and drawing a deep breath, said:--
"There--that will do. One can never finish. I shall not put another stroke to it. I am afraid that retouching would only injure it. It is done."
In the master's words and manner, struggling effort and calm content seemed mingled. He laid the chisel aside. Irma looked at him earnestly and said:--
"You are a happy man; but I can imagine that you are still unsatisfied. I don't believe that even Raphael or Michael Angelo was ever satisfied with the work he had completed. The remnant of dissatisfaction which an artist feels at the completion of a work is the germ of a new creation."
The master nodded his approval of her words. His eyes expressed his thanks. He went to the water-tap and washed his hands. Then he placed himself near Irma and looked at her, while telling her that in every work an artist parts with a portion of his life; that the figure will never again inspire the same feelings that it did while in the workshop. Viewed from afar, and serving as an ornament, no regard would be had to the care bestowed upon details. But the artist's great satisfaction in his work is in having pleased himself; and yet no one can accurately determine how, or to what extent, a conscientious working up of details will influence the general effect.
While the master was speaking, the King was announced. Irma hurriedly spread a damp cloth over her clay model.
The King entered. He was unattended, and begged Irma not to allow herself to be disturbed in her work. Without looking up, she went on with her modeling. The King was earnest in his praise of the master's work.
"The grandeur that dwells in this figure will show posterity what our days have beheld. I am proud of such contemporaries."
Irma felt that the words applied to her as well. Her heart throbbed. The plaster which stood before her suddenly seemed to gaze at her with a strange expression.
"I should like to compare the finished work with the first models," said the king to the artist.
"I regret that the experimental models are in my small atelier. Does your Majesty wish me to have them brought here?"
"If you will be good enough to do so."
The master left. The King and Irma were alone. With rapid steps the King mounted the ladder, and exclaimed in a tremulous voice:--
"I ascend into heaven--I ascend to you. Irma, I kiss you, I kiss your image, and may this kiss forever rest upon those lips, enduring beyond all time. I kiss thee with the kiss of eternity." He stood aloft and kissed the lips of the statue. Irma could not help looking up, and just at that moment a slanting sunbeam fell on the King and on the face of the marble figure, making it glow as if with life.
Irma felt as if wrapped in a fiery cloud, bearing her away into eternity.
The King descended and placed himself beside her. His breathing was short and quick. She did not dare to look up; she stood as silent and as immovable as a statue. Then the King embraced her--and living lips kissed each other.
Translation of S.A. Stern.
THE NEW HOME AND THE OLD ONE
From 'On the Heights'
Hansei received various offers for his cottage, and was always provoked when it was spoken of as a 'tumble-down old shanty.' He always looked as if he meant to say, "Don't take it ill of me, good old house: the people only abuse you so that they may get you cheap." Hansei stood his ground. He would not sell his home for a penny less than it was worth; and besides that, he owned the fishing-right, which was also worth something. Grubersepp at last took the house off his hands, with the design of putting a servant of his, who intended to marry in the fall, in possession of the place.
All the villagers were kind and friendly to them,--doubly so since they were about to leave,--and Hansei said:--
"It hurts me to think that I must leave a single enemy behind me, I'd like to make it up with