Woman Triumphant (La Maja Desnuda)

They returned to Rome at the beginning of the fall. Renovales began his work for the contractor, but after a few months the latter seemed dissatisfied. Not that Signor Mariano was losing power, not at all, but his agents complained of a certain monotony in the subjects of his works. The dealer advised him to travel; he might stay awhile in Umbria, painting peasants in ascetic landscapes, or old churches; he might—and this was the best thing to do—move to Venice. How much Signor Mariano could accomplish in those canals! And it was thus that the idea of leaving Rome first came to the painter.

Josephina did not object. That daily round of receptions in the countless embassies and legations was beginning to bore her. Now that the charm of the first impressions had disappeared, Josephina noticed that the great ladies treated her with an annoying condescension as if she had descended from her rank in marrying an artist. Besides, the younger men in the embassies, the attachés of different nationalities, some light, some dark, who sought relief from their celibacy without going outside diplomatic society, were disgracefully impudent as they danced with her or went through the figures of a cotillion, as if they considered her an easy conquest, seeing her married to an artist who could not display an ugly uniform in the drawing rooms. They made cynical declarations to her in English or German and she had to keep her temper, smiling and biting her lips, close to Renovales, who did not understand a word and showed his satisfaction at the attentions of which his wife was the object on the part of the fashionable youths whose manners he tried to imitate.

The trip was decided on. They would go to Venice! Their friend Cotoner said "Good-by," he was sorry to part from them but his place was in Rome. The Pope was ailing just at that time and the painter, in the hope of his death, was preparing canvases of all sizes, striving to guess who would be his successor.

As he went back in his memories, Renovales always thought of his life in Venice with a sort of pleasant homesickness. It was the best period of his life. The enchanting city of the lagoons,—bathed in golden light, lulled by the lapping of the water, fascinated him from the first moment, making him forget his love for the human form. For some time his enthusiasm for the nude was calmed. He worshiped the old palaces, the solitary canals, the lagoon with its green, motionless waiter, the soul of a majestic past, which seemed to breathe in the solemn old age of the dead, eternally smiling city.

They lived in the Foscarini palace, a huge building with red walls and casements of white stone that opened on a little alley of water adjoining the Grand Canal. It was the former abode of merchants, navigators and conquerors of the Isles of the East who in times gone by had worn on their heads the golden horn of the Doges. The modern spirit, utilitarian and irreverent, had converted the palace into a tenement, dividing gilded drawing rooms with ugly partitions, establishing kitchens in the filigreed arcades of the seignorial court, filling the marble galleries to which the centuries gave the amber-like transparency of old ivory, with clothes hung out to dry and replacing the gaps in the superb mosaic with cheap square tiles.

Renovales and his wife occupied the apartment nearest the Grand Canal. Mornings, Josephina saw from a bay window the rapid silent approach of her husband's gondola. The gondolier, accustomed to the service of artists, shouted to the painter, till Renovales came down with his box of water-colors and the boat started immediately through the narrow, winding canals, moving the silvered comb of its prow from one side to the other as if it were feeling the way. What mornings of placid silence in the sleeping water of an alley, between two palaces whose boldly projecting roofs kept the surface of the little canal in perpetual shadow! The gondolier slept stretched out in one of the curving ends of his boat and Renovales, sitting beside the black canopy, painted his Venetian water-colors, a new type that his impresario in Rome received with the greatest enthusiasm. His deftness enabled him to produce these works with as much facility as if they were mechanical copies. In the maze of canals he had one of his own which he called his "estate" on account of the money it netted him. He had painted again and again its dead, silent waters which all day long were never rippled except by his gondola; two old palaces with broken blinds, the doors covered with the crust of years, stairways rotted with mold and in the background a little arch of light, a marble bridge and under it the life, the movement, the sun of a broad, busy canal. The neglected little alley came to life every week under Renovales' brush—he could paint it with his eyes shut—and the business initiative of the Roman Jew scattered it through the world.

The afternoons Mariano passed with his wife. Sometimes they went in a gondola to the promenade of the Lido and sitting on the sandy beach, watched the angry surface of the open Adriatic, that stretched its tossing white caps to the horizon, like a flock of snowy sheep hurrying in the rush of a panic.

Other afternoons they walked in the Square of Saint Mark, under the arcades of its three rows of palaces where they could see in the background, by the last rays of the sun, the pale gold of the basilica gleaming, as if in its walls and domes there were crystallized all the wealth of the ancient Republic.

Renovales, with his wife on his arm, walked calmly as if the majesty of the place impelled him to a sort of noble bearing. The august silence was not disturbed by the deafening hubbub of other great capitals; no rattling of carts or footsteps of horses or hucksters' cries. The Square, with its white marble pavement, was a huge drawing room through which the visitors passed as if they were making a call. The musicians of the Venice band were gathered in the center with their hats surmounted by black waving plumes. The blasts of the Wagnerian brasses, galloping in the mad ride of the Valkyries, made the marble columns shake and seemed to give life to the four golden horses that reared over space with silent whinnies on the cornice of St. Mark's.

The dark-feathered doves of Venice scattered in playful spirals, somewhat frightened at the music, finally settled, like rain, on the tables of the café. Then, taking flight again, they blackened the roof of the palaces and once more swooped down like a mantle of metallic luster on the groups of English tourists in green veils and round hats, who called them in order to offer them grain.

Josephina, with childish eagerness, left her husband in order to buy a cone full of grain, and spreading it out in her gloved hands she gathered the wards of St. Mark around her; they rested on the flowers of her head, fluttering like fantastic crests, they hopped on her shoulders, or lined up on her outstretched arms, they clung desperately to her slight hips, trying to walk around her waist, and others, more daring, as if possessed of human mischievousness, scratched her breast, reached out their beaks striving to caress her ruddy, half-opened, lips through the veil. She laughed, trembling at the tickling of the animated cloud that rubbed against her body. Her husband watched her, laughing too, and certain that no one but she would understand him, he called to her in Spanish.

"My, but you are beautiful! I wish I could paint your picture! If it weren't for the people, I would kiss you."

Venice was the scene of her happiest days. She lived quietly while her husband worked, taking odd corners of the city for his models. When he left the house, her placid calm was not disturbed by any troublesome thought. This was painting, she was sure,—and not the conditions of affairs in Rome, where he would shut himself up with shameless women who were not afraid to pose stark naked. She loved him with a renewed passion, she petted him with constant caresses. It was then that her daughter was born, their only child.

Majestic Doña Emilia could not remain in Madrid when she learned that she was going to be a grandmother. Her poor Josephina, in a foreign land, with no one to take care of her but her husband, who had some talent according to what people said, but who seemed to her rather ordinary! At her son-in-law's expense, she made the trip to Venice and there she stayed for several months, fuming against the city, which she had never visited in her diplomatic travels. The distinguished lady considered that no cities were inhabitable except the capitals that have a court. Pshaw! Venice! A shabby town that no one liked but writers of romanzas and decorators of fans, and where there were nothing higher than consuls. She liked Rome with its Pope and kings. Besides, it made her seasick to ride in the gondolas and she complained constantly of the rheumatism, blaming it to the dampness of the lagoons.

Renovales, who had feared for Josephina's life, believing that her weak, delicate constitution could not stand the shock, broke out into cries of joy when he received the little one in his arms and looked at the mother with her head resting on the pillow as if she were dead. Her white face was hardly outlined against the white of the linen. His first thought was for her, for the pale features, distorted by the recent crisis, which gradually were growing calmer with rest. Poor little girl! How she had suffered! But as he tip-toed out of the bed room in order not to disturb the heavy sleep that, after two cruel days, had overpowered the sick woman, he gave himself up to his admiration for the bit of flesh that lay in the huge flabby arms of the grandmother, wrapped in fine linen. Ah, what a dear little thing! He looked at the livid little face, the big head, thinly covered with hair, seeking for some suggestion of himself in this surge of flesh that was in motion and still without definite form. "Mamma, whom does she look like?"

Doña Emilia was surprised at his blindness. Whom; should she look like? Like him, no one but him. She was large, enormous; she had seen few babies as large as this one. It did not seem possible that her poor daughter could live after giving birth to "that." They could not complain that she was not healthy; she was as ruddy as a country baby.

"She's a Renovales; she's yours, wholly yours, Mariano. We belong to a different class."

And Renovales, without noticing his mother's words, saw only that his daughter was like him, overjoyed to see how robust she was, shouting his pleasure at the health of which the grandmother spoke in a disappointed tone.

In vain did he and Doña Emilia try to dissuade Josephina from nursing the baby. The little woman, in spite of the weakness that kept her motionless in bed, wept and cried almost as she had in the crises that had so terrified Renovales.

"I won't have it," she said with that obstinacy that made her so terrible.

"I won't have a strange woman's milk for my daughter. I will nurse her, her mother."

And they had to give the baby to her.

When Josephina seemed recovered, her mother, feeling that her mission was over, went home to Madrid. She was bored to death in that silent city of Venice, night after night she thought she was dead, for she could not hear a single sound from her bed. The calm, interrupted now and then by the shouts of the gondoliers filled her with the same terror that she felt in a cemetery. She had no friends, she did not "shine"; there was nobody in that dirty hole and nobody knew her. She was always recalling her distinguished friends in Madrid where she thought she was an indispensable personage. The modesty of her granddaughter's christening left a deep impression in her mind in spite of the fact that they gave her name to the child; an insignificant little party that needed only two gondolas; she, who was the godmother, with the godfather, an old Venetian painter, who was a friend of Renovales and, besides, Renovales himself and two artists, a Frenchman and another Spaniard. The Patriarch of Venice did not officiate at the baptism, not even a bishop. And she knew so many of them at home. A mere priest, who was in a shameful hurry, had been sufficient to christen the granddaughter of the famous diplomat, in a little church, as the sun was setting. She went away repeating once more that Josephina was killing herself, that it was perfect folly for her to nurse the baby in her delicate condition, regretting that she did not follow the example of her mother who had always intrusted her children to nurses.

Josephina cried bitterly when her mother went, but Renovales said "good-by" with ill-concealed joy. Bon voyage! He simply could not endure the woman, always complaining that she was being neglected when she saw how her son-in-law was working to make her daughter happy. The only thing he agreed with her in was in scolding Josephina tenderly for her obstinacy in nursing the baby. Poor little Maja Desnuda! Her form had lost its bud-like daintiness in the full flower of motherhood.

She appeared more robust, but the stoutness was accompanied by an anemic weakness. Her husband, seeing how she was losing her daintiness, loved her with more tender compassion. Poor little girl! How good she was! She was sacrificing herself for her daughter.

When the baby was a year old, the great crisis in Renovales' life occurred. Desirous of taking a "bath in art," of knowing what was going on outside of the dungeon in which he was imprisoned, painting at so much a piece, he left Josephina in Venice and made a short trip to Paris to see its famous Salon. He came back transfigured, with a new fever for work and a determination to transform his existence which filled his wife with astonishment and fear. He was going to break with his impresario, he would no longer debase himself with that false painting, even if he had to beg for his living. Great things were being done in the world, and he felt that he had the courage to be an innovator, following the steps of those modern painters who made such a profound impression on him.

Now he hated old Italy, where artists went to study under the protection of ignorant governments.

In reality what they found there was a market of tempting commissions where they soon grew accustomed to taking orders, to the luxurious, indifferent life of easy profit. He wanted to move to Paris. But Josephina, who listened to Renovales' fancies in silence, unable to understand them for the most part, modified this determination by her advice. She too wanted to leave Venice. The city seemed gloomy in the winter with its ceaseless rains that left the bridges slippery and the marble alleys impassable. Since they were determined to break up camp, why not go back to Madrid? Mamma was sick, she complained in all her letters at living so far from her daughter. Josephina wanted to see her, she had a presentiment that her mother was going to die. Renovales thought it over; he too wanted to go back to Spain. He felt homesick; he thought of the great stir he would cause there, teaching his new methods amid the general routine. The desire of shocking the Academicians, who had accepted him before because he had renounced his ideals, tempted him.

They went back to Madrid with little Milita, as they called her for short, abbreviating the diminutive of Emilia. Renovales brought with him as his whole capital some few thousand lire, that represented Josephina's savings and the product of his sale of part of the furniture that decorated the poorly furnished halls of the Foscarini palace.

At first it was hard. Doña Emilia died a few months after they reached Madrid. Her funeral did not come up to the dreams the illustrious widow had always fashioned. Hardly a score of her countless relatives were present. Poor old lady, if she had known how her hopes were destined to be disappointed! Renovales was almost glad of the event. With it, the only tie that bound them to society was broken. He and Josephina lived in a fifth story flat on the Calle de Alcalá, near the Plaza de Toros, with a large terrace that the artist converted into a studio. Their life was modest, secluded, humble, without friends or functions. She spent the day taking care of her daughter and the house, without help except a dull, poorly-paid maid. Oftentimes when she seemed most active, she fell into a sudden languor, complaining of strange, new ailments.

Mariano hardly ever worked at home; he painted out of doors. He despised the conventional light of the studio, the closeness of its atmosphere. He wandered through the suburbs of Madrid and the neighboring provinces in search of rough, simple types, whose faces seemed to bear the stamp of the ancient Spanish soul. He climbed the Guadarrama in the midst of winter, standing alone in the snowy fields like an Arctic explorer, to transfer to his canvas the century-old pines, twisted and black under their caps of frozen sleet.

When the Exhibition took place, Renovales' name became famous in a flash. He did not present a huge picture with a key, as he had at his first triumph. They were small canvases, studies prompted by a chance meeting; bits of nature, men and landscapes reproduced with an astonishing, brutal truth that shocked the public.

The sober fathers of painting writhed as if they had received a slap in the face, before those sketches that seemed to flame among the other dead, leaden pictures. They admitted that Renovales was a painter, but he lacked imagination, invention, his only merit was his ability to transfer to the canvas what his eyes saw. The younger men flocked to the standard of the new master; there were endless disputes, impassioned arguments, deadly hatred, and over this battle Renovales', name flitted, appearing almost daily in the newspapers, till he was almost as celebrated as a bull-fighter or an orator in the Congress.

The struggle lasted for six years, giving rise to a storm of insults and applause every time that Renovales exhibited one of his works, and meanwhile the master, discussed as he was, lived in poverty, forced to paint water-colors in the old style which he secretly sent to his dealer in Rome. But all combats have their end. The public finally accepted as unquestionable a name that they saw every day; his enemies, weakened by the unconscious effect of public opinion, grew tired, and the master like all innovators, as soon as the first success of the scandal was over, began to limit his daring, pruning and softening his original brutality. The dreaded painter became fashionable. The easy, instantaneous success he had won at the beginning of his career was renewed, but more solidly and more definitely, like a conquest made by rough, hard paths when there is a struggle at every step.

Money, the fickle page, came back to him, holding the train of glory. He sold pictures at prices unheard of in Spain and they grew fabulously as they were repeated by his admirers. Some American millionaires, surprised that a Spanish painter should be mentioned abroad and that the principal reviews in Europe should reproduce his works, bought canvases as objects of great luxury. The master, embittered by the poverty of his years of struggle, suddenly felt a longing for money, an overpowering greed that his friends had never known in him. His wife seemed to grow more sickly every day; her daughter was growing up and he wanted his Milita to have the education and the luxuries of a princess. They now had a respectable house of their own, but he wanted something better for them. His business instinct, which everyone recognized in him when he was not blinded by some artistic prejudice, strove to make his brush an instrument of great profits.

Pictures were bound to disappear, according to the master. Modern rooms, small and soberly decorated, were not fitted for the large canvases that ornamented the walls of drawing rooms in the old days. Besides, the reception rooms of the present, like the rooms in a doll's house, were good merely for pretty pictures marked by stereotyped mannerisms. Scenes taken from nature were out of place in this background. The only way to make money then was to paint portraits and Renovales forgot his distinction as an innovator in order to win at any cost fame as a portrait painter of society people. He painted members of the royal family in all sorts of postures, not omitting any of their important occupations; on foot, and on horseback, with a general's plumes or a gray hunting jacket, killing pigeons or riding in an automobile. He portrayed the beauties of the oldest families, concealing imperceptibly, with clever dissimulation, the ravages of time, giving firmness to the flabby flesh with his brush, holding up the heavy eyelids and cheeks that sagged with fatigue and the poison of rouge. After successes at court, the rich considered a portrait by Renovales as an indispensable decoration for their drawing rooms. They sought him because his signature cost thousands of dollars; to possess a canvas by him was an evidence of opulence, quite as necessary as an automobile of the best make.

Renovales was as rich as a painter can be. It was at that time that he built what envious people called his "pantheon"; a magnificent mansion behind the iron grating of the Retiro.

He had a violent desire to build a home after his own heart and image, like those mollusks that build a shell with the substance of their bodies so that it may serve both as a dwelling and a defense. There awakened in him that longing for show, for pompous, swaggering, amusing originality that lies dormant in the mind of every artist. At first he planned a reproduction of Rubens' palace in Antwerp, open loggie for studios, leafy gardens covered with flowers at all seasons, and in the paths, gazelles, giraffes, birds of bright plumage, like flying flowers, and other exotic animals which this great painter used as models in his desire to copy Nature in all its magnificence.

But he was forced to give up this dream, on account of the nature of the building sites in Madrid, a few thousand feet of barren, chalky soil, bounded by a wretched fence and as dry as only Castile can be. Since this Rubenesque ostentation was not possible, he took refuge in Classicism and in a little garden he erected a sort of Greek temple that should serve at once as a dwelling and a studio. On the triangular pediment rose three tripods like torch-holders, that gave the house the appearance of a commemorative tomb. But in order that those who stopped outside the grating might make no mistake, the master had garlands of laurel, palettes surrounded with crowns, carved on the stone façade, and in the midst of this display of simple modesty a short inscription in gold letters of average size—"Renovales." Exactly like a store. Inside, in two studios where no one ever painted and which led to the real working studio, the finished pictures were exhibited on easels covered with antique textures, and callers gazed with wonder at the collection of properties fit for a theater,—suits of armor, tapestries, old standards hanging from the ceiling, show-cases full of ancient knick-knacks, deep couches with canopies of oriental stuffs supported by lances, century old coffers and open secretaries shining with the pale gold of their rows of drawers.

These studios where no one studied were like the luxurious line of waiting rooms in the house of a doctor who charges twenty dollars for a consultation, or like the anterooms, furnished in dark leather with venerable pictures, of a famous lawyer, who never opens his mouth without carrying off a large portion of his client's fortune. People who waited in these two studios spacious as the nave of a church, with the silent majesty which comes with the lapse of years, were brought to the necessary frame of mind to make them submit to the enormous prices the master demanded.

Renovales had "made good" and he could rest calmly, as his admirers said. And still the master was gloomy; his nature, embittered by his years of silent suffering, broke out in violent fits of temper.

The slightest attack by some insignificant enemy was enough to send him into a rage. His pupils thought it was due to the fact that he was getting old. His struggles had so aged him that with his heavy beard and his round shoulders he looked ten years older than he was.

In this white temple, on the pediment of which his name shone in letters of glorious gold, he was not so happy as in the modest houses in Italy or the little garret near the Plaza de Toros. All that was left of the Josephina of the first months of his married life was a distant shadow. The "Maja Desnuda" of the happy nights in Rome and Venice was nothing but a memory. On her return to Spain the false stoutness of motherhood had disappeared.

She grew thin, as if some hidden fire were devouring her; the flesh that had covered her body with graceful curves melted away in the flames that burned within her. The sharp angles and dark hollows of her skeleton began to show beneath her pale, flabby flesh. Poor "Maja Desnuda"! Her husband pitied her, attributing her decline to the struggles and cares she had suffered when they first returned to Madrid.

For her sake, he was eager to conquer, to become rich, that he might provide her with the comforts he had dreamed of. Her illness seemed to be mental; it was neurasthenia, melancholia. The poor woman had suffered without doubt at being condemned to a pauper's existence, in Madrid, where she had once lived in comparative splendor, this time in a wretched house, struggling with poverty, forced to perform the most menial tasks. She complained of strange pains, her legs lost their strength, she sank into a chair where she would stay motionless for hours at a time, weeping without knowing why. Her digestion was poor; for weeks her stomach refused all nourishment. At night she would toss about in bed, unable to sleep and at daybreak she was up flitting about the house with a feverish activity, turning things upside down, finding fault with the servant, with her husband, with herself, until suddenly she would collapse from the height of her excitement and begin to cry.

These domestic trials broke the painter's spirit, but he bore them patiently. Now a gentle sympathy was added to his former love, when he saw her so weak, without any remnant of her former charm except her eyes, sunk in their bluish sockets, bright with the mysterious fire of fever. Poor little girl! Her struggles brought her to such a pass. Her weakness filled Renovales with a sort of remorse. Her lot was that of the soldier who sacrifices himself for his general's glory. He had conquered, but he left behind him the woman he loved, fallen in the struggle because she was the weaker.

He admired, too, her maternal self-sacrifice. The baby, Milita, who attracted attention because of her whiteness and ruddiness, had the strength that her mother lacked. The greediness of this strong, enslaving creature had absorbed all of the mother's life.

When the artist was rich and installed his family in the new house, he thought that Josephina was going to get well. The doctors were confident of a rapid improvement. The first day that they walked through the parlors and studios of the new house, taking note of the furniture and the valuables, old and new, with a glance of satisfaction, Renovales put him arm around the waist of the weak little doll, bending his head over her, caressing her forehead with his bearded lips.

Everything was hers, the house and its sumptuous decorations, hers too was the money that was left and that he would continue to make. She was the owner, the absolute mistress, she could spend all she wanted to, he would stand for everything. She could wear stylish clothes, have carriages, make her former friends green with envy, be proud of being the wife of a famous painter, much more proud than others who had landed a ducal crown by marriage. Was she satisfied?

She said "Yes," nodding her assent weakly, and she even stood on tiptoe to kiss the lips that seemed to caress her through a cloud of hair, but her expression was sad and her listless movements were like a withered flower's, as if there was no joy on earth that could lift her out of this dejection.