想像の肖像 — Walter Pater
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title : Imaginary Portraits Author : Walter Pater Release date : May 1, 2003 [eBook #4038] Most recently updated: December 27, 2020 Language : English Other information and formats : www.gutenberg.org/ebooks/4038 Credits : Produced by Alfred J. Drake. HTML version by Al Haines. *** START OF Drake, Ph.D. Electronic Version 1.0 / Date 10-12-01 NOTES BY THE E-TEXT EDITOR: Reliability: Although I have done my best to ensure that the text you read is error-free in comparison with an exact reprint of the standard edition—Macmillan's 1910 Library Edition—please exercise scholarly caution in using it. It is not intended as a substitute for the printed original but rather as a searchable supplement. My e-texts may prove convenient substitutes for hard-to-get works in a course where both instructor and students accept the possibility of some imperfections in the text, but if you are writing a scholarly article, dissertation, or book, you should use the standard hard-copy editions of any works you cite. Pagination and Paragraphing: To avoid an unwieldy electronic copy, I have transferred original pagination to brackets. A bracketed numeral such as [22] indicates that the material immediately following the number marks the beginning of the relevant page. I have preserved paragraph structure except for first-line indentation. Hyphenation: I have not preserved original hyphenation since an e-text does not require line-end or page-end hyphenation. Greek typeface: For this full-text edition, I have transliterated Pater's Greek quotations. If there is a need for the original Greek, it can be viewed at my site, http://www.ajdrake.com/etexts, a Victorianist archive that contains the complete works of Walter Pater and many other nineteenth-century texts, mostly in first editions. CONTENTS I. A Prince of Court Painters : 3-44 II. Denys L'Auxerrois : 45-77 III. Sebastian Van Storck : 79-115 IV. Duke Carl of Rosenmold : 117-153 IMAGINARY PORTRAITS I. A PRINCE OF COURT PAINTERS EXTRACTS FROM AN OLD FRENCH JOURNAL Valenciennes, September 1701. [5] They have been renovating my father's large workroom. That delightful, tumble-down old place has lost its moss-grown tiles and the green weather-stains we have known all our lives on the high whitewashed wall, opposite which we sit, in the little sculptor's yard, for the coolness, in summertime. Among old Watteau's work-people came his son, "the genius," my father's godson and namesake, a dark-haired youth, whose large, unquiet eyes seemed perpetually wandering to the various drawings which lie exposed here. My father will have it that he is a genius indeed, and a painter born. We have had our September Fair in the Grande Place, a wonderful stir of sound and colour in the wide, open space beneath our windows. And just where the crowd was busiest young Antony was found, hoisted into one of those empty niches of the old Hôtel de Ville, sketching the scene to the life, but with a [6] kind of grace—a marvellous tact of omission, as my father pointed out to us, in dealing with the vulgar reality seen from one's own window—which has made trite old Harlequin, Clown, and Columbine, seem like people in some fairyland; or like infinitely clever tragic actors, who, for the humour of the thing, have put on motley for once, and are able to throw a world of serious innuendo into their burlesque looks, with a sort of comedy which shall be but tragedy seen from the other side. He brought his sketch to our house to-day, and I was present when my father questioned him and commended his work. But the lad seemed not greatly pleased, and left untasted the glass of old Malaga which was offered to him. His father will hear nothing of educating him as a painter. Yet he is not ill-to-do, and has lately built himself a new stone house, big and grey and cold. Their old plastered house with the black timbers, in the Rue des Cardinaux, was prettier; dating from the time of the Spaniards, and one of the oldest in Valenciennes. October 1701. Chiefly through the solicitations of my father, old Watteau has consented to place Antony with a teacher of painting here. I meet him betimes on the way to his lessons, as I return from Mass; for he still works with the masons, [7] but making the most of late and early hours, of every moment of liberty. And then he has the feast-days, of which there are so many in this old-fashioned place. Ah! such gifts as his, surely, may once in a way make much industry seem worth while. He makes a wonderful progress. And yet, far from being set-up, and too easily pleased with what, after all, comes to him so easily, he has, my father thinks, too little self-approval for ultimate success. He is apt, in truth, to fall out too hastily with himself and what he produces. Yet here also there is the "golden mean." Yes! I could fancy myself offended by a sort of irony which sometimes crosses the half-melancholy sweetness of manner habitual with him; only that as I can see, he treats himself to the same quality. October 1701. Antony Watteau comes here often now. It is the instinct of a natural fineness in him, to escape when he can from that blank stone house, with so little to interest, and that homely old man and woman. The rudeness of his home has turned his feeling for even the simpler graces of life into a physical want, like hunger or thirst, which might come to greed; and methinks he perhaps overvalues these things. Still, made as he is, his hard fate in that rude place must needs touch one. And then, he profits by the experience of [8] my father, who has much knowledge in matters of art beyond his own art of sculpture; and Antony is not unwelcome to him. In these last rainy weeks especially,