"IS IT necessary to tell of my years with Guarneresi? No; you confessed some slight knowledge of me. Very well, I shall pass over them lightly. Suffice it to say that here at last I found my forte. I could paint. The maestro never valued my efforts very highly, but he taught with conscientious diligence nevertheless. In the use of sweeping line and chiaroscuro I excelled the majority of his pupils, but in color I exhibited no talent—in his estimation, at least.
"It was strange, too, for through my mind at odd intervals swept riots of crimson, orange and purple, which never could be mixed satisfactorily upon my palette for any given picture. I told myself that the fault lay as much in the subjects of my pictures as in myself—the excuse of a liar, of course.
"There was some excuse there, however. For instance, when we painted nudes Guarneresi would assemble a half-dozen old hags with yellowed skin, bony torsos and shriveled breasts, asking us to portray youth and beauty. Instead of attempting to pin a fabric of imagination upon such skeletons, I used to search out the more beautiful of the cocottes of the night cafes, and bring with me to the studio the next day memories and hurried sketches of poses in which I had seen them. This was more interesting, but unsatisfactory withal.
"I had been five years in the studio, and had traveled three winters to Sicily, Sardinia and Italy, before the first hint of a resolution of my problem came to me. It was in the month of July, when north-loving students take their vacations.
"I was alone in the vast studio one afternoon. Guarneresi himself was absent, which accounted for the holiday taken by the faithful who remained during the hot days. On one side of the room were the cages, where the maestro kept small live animals, used for models with beginners. There were a few rabbits, a dozen white mice and a red fox.
"Wandering about, near to my wits' end for inspiration to further work, I chanced to see one of the rabbits looking in my direction. Rays of sunlight, falling through the open skylight, caught the beast's eyes in such a manner that they showed to me as round discs of glowing scarlet.
"Never had I witnessed this phenomenon before, which I since have learned is common. It had an extraordinary effect upon me. In that second I thought of my delinquent boyhood, of dozens of cruel impulses since practically forgotten—of the mutilated, dying beetles which had been instrumental in embarking me upon an art career.
"Blood rose in torrents to my own temples. A fever consumed me. There was life and there could be death. I could renew the inspiration of those tortured beetles."
"WITH agitated stealth, I glanced out into the empty hallway, locked the door of the studio, drew four shades over windows through which I might be seen, and crept to the rabbit cage.
"Opening it, I seized by the long ears the white-furred animal which had stared at me. The warm softness of its palpitating body raised my artistic desire to a frenzy. I pulled a table from the wall, and holding down the animal upon it I drew my knife. Overcoming the mad, futile struggles of the rabbit, I slit long incisions in the white back and belly. The blood welled out. . . .
"Perfect fury of delight sent me to my canvas. My fingers trembled as I mixed the colors, but there was no indecision now, and no hint of muddiness in the result. I painted. . . .
"You perhaps have seen a reproduction of that picture? It was called "THE LUSTS OF THE MAGI," and now hangs in one of the Paris galleries. Some day it will grace the
