The Emperor. Complete

“And your pretty face is to be handed down to posterity in five-fold deformity?”

“Ah! no—I had them all destroyed.”

“That was very good of them!” cried Pollux, eagerly. Then turning with a very simple gesture to the bust before him he said: “Hapless clay, if the lovely lady whom thou art destined to resemble will not sacrifice the chaos of her curls, thy fate will undoubtedly be that of thy predecessors.”

The sleeping matron was roused by this speech. “You were speaking,” she said, “of the broken busts of Balbilla?”

“Yes,” replied the poetess.

“And perhaps this one may follow them,” sighed Claudia. “Do you know what lies before you in that case?”

“No, what?”

“This young lady knows something of your art.”

“I learnt to knead clay a little of Aristaeus,” interrupted Balbilla.

“Aha! because Caesar set the fashion, and in Rome it would have been conspicuous not to dabble in sculpture.”

“Perhaps.”

“And she tried to improve in every bust all that particularly displeased her,” continued Claudia.

“I only began the work for the slaves to finish,” Balbilla threw in, interrupting her companion. “Indeed, my people became quite expert in the work of destruction.”

“Then my work may, at any rate, hope for a short agony and speedy death,” sighed Pollux. “And it is true—all that lives comes into the world with its end already preordained.”

“Would an early demise of your work pain you much?” asked Balbilla.

“Yes, if I thought it successful; not if I felt it to be a failure.”

“Any one who keeps a bad bust,” said Balbilla, “must feel fearful lest an undeservedly bad reputation is handed down to future generations.”

“Certainly! but how then can you find courage to expose yourself for the sixth time to a form of calumny that it is difficult to counteract?”

“Because I can have anything destroyed that I choose,” laughed the spoilt girl. “Otherwise sitting still is not much to my taste.”

“That is very true,” sighed Claudia. “But from you I expect something strikingly good.”

“Thank you,” said Pollux, “and I will take the utmost pains to complete something that may correspond to my own expectations of what a marble portrait ought to be, that deserves to be preserved to posterity.”

“And those expectations require—?”

Pollux considered for a moment, and then he replied:

“I have not always the right words at my command, for all that I feel as an artist. A plastic presentiment, to satisfy its creator, must fulfil two conditions; first it must record for posterity in forms of eternal resemblance all that lay in the nature of the person it represents; secondly, it must also show to posterity what the art of the time when it was executed, was capable of.”

“That is a matter of course—but you are forgetting your own share.”

“My own fame you mean?”

“Certainly.”

“I work for Papias and serve my art, and that is enough; meanwhile Fame does not trouble herself about me, nor do I trouble myself about her.”

“Still, you will put your name on my bust?”

“Why not?”

“You are as prudent as Cicero.”

“Cicero?”

“Perhaps you would hardly know old Tullius’ wise remark that the philosophers who wrote of the vanity of writers put their names to their books all the same.”

“Oh! I have no contempt for laurels, but I will not run after a thing which could have no value for me, unless it came unsought, and because it was my due.”

“Well and good; but your first condition could only be fulfilled in its widest sense if you could succeed in making yourself acquainted with my thoughts and feelings, with the whole of my inmost mind.”

“I see you and talk to you,” replied Pollux. Claudia laughed aloud, and said:

“If instead of two sittings of two hours you were to talk to her for twice as many years you would always find something new in her. Not a week passes in which Rome does not find in her something to talk about. That restless brain is never quiet, but her heart is as good as gold, and always and everywhere the same.”

“And did you suppose that that was new to me?” asked Pollux. “I can see the restless spirit of my model in her brow and in her mouth, and her nature is revealed in her eyes.”

“And in my snub-nose?” asked Balbilla.

“It bears witness to your wonderful and whimsical notions, which astonish Rome so much.”

“Perhaps you are one more that works for the hammer of the slaves,” laughed Balbilla.

“And even if it were so,” said Pollux, “I should always retain the memory of this delightful hour.” Pontius the architect here interrupted the sculptor, begging Balbilla to excuse him for disturbing the sitting; Pollux must immediately attend to some business of importance, but in ten minutes he would return to his work. No sooner were the two ladies alone, than Balbilla rose and looked inquisitively round and about the sculptor’s enclosed work-room; but her companion said:

“A very polite young man, this Pollux, but rather too much at his ease, and too enthusiastic.”

“An artist,” replied Balbilla, and she proceeded to turn over every picture and tablet with the sculptor’s studies in drawing, raised the cloth from the wax model of the Urania, tried the clang of the lute which hung against one of the canvas walls, was here, there, and everywhere, and at last stood still in front of a large clay model, placed in a corner of the studio, and closely wrapped in cloths.

“What may that be?” asked Claudia.

“No doubt a half-finished new model.”

Balbilla felt the object in front of her with the tips of her fingers, and said: “It seems to me to be a head. Something remarkable at any rate. In these close covered dishes we sometimes find the best meat. Let its unveil this shrouded portrait.”

“Who knows what it may be?” said Claudia, as she loosened a twist in the cloths which enveloped the bust. There are often very remarkable things to be seen in such workshops.

“Hey, what, it is only a woman’s head! I can feel it,” cried Balbilla.

“But you can never tell,” the older lady went on, untying a knot. “These artists are such unfettered, unaccountable beings.”