“But it is, my dear!—­so far as it is straining through me, Adolf Naumann:  that stands firm,” said the good-natured painter, putting a hand on Ladislaw’s shoulder, and not in the least disturbed by the unaccountable touch of ill-humor in his tone.  “See now!  My existence presupposes the existence of the whole universe—­ does it not? and my function is to paint—­and as a painter I have a conception which is altogether genialisch, of your great-aunt or second grandmother as a subject for a picture; therefore, the universe is straining towards that picture through that particular hook or claw which it puts forth in the shape of me—­ not true?”

“But how if another claw in the shape of me is straining to thwart it?—­ the case is a little less simple then.”

“Not at all:  the result of the struggle is the same thing—­ picture or no picture—­logically.”

Will could not resist this imperturbable temper, and the cloud in his face broke into sunshiny laughter.

“Come now, my friend—­you will help?” said Naumann, in a hopeful tone.

“No; nonsense, Naumann!  English ladies are not at everybody’s service as models.  And you want to express too much with your painting.  You would only have made a better or worse portrait with a background which every connoisseur would give a different reason for or against.  And what is a portrait of a woman?  Your painting and Plastik are poor stuff after all.  They perturb and dull conceptions instead of raising them.  Language is a finer medium.”

“Yes, for those who can’t paint,” said Naumann.  “There you have perfect right.  I did not recommend you to paint, my friend.”

The amiable artist carried his sting, but Ladislaw did not choose to appear stung.  He went on as if he had not heard.

“Language gives a fuller image, which is all the better for beings vague.  After all, the true seeing is within; and painting stares at you with an insistent imperfection.  I feel that especially about representations of women.  As if a woman were a mere colored superficies!  You must wait for movement and tone.  There is a difference in their very breathing:  they change from moment to moment.—­This woman whom you have just seen, for example:  how would you paint her voice, pray?  But her voice is much diviner than anything you have seen of her.”

“I see, I see.  You are jealous.  No man must presume to think that he can paint your ideal.  This is serious, my friend!  Your great-aunt! `Der Neffe als Onkel’ in a tragic sense—­ungeheuer!”

“You and I shall quarrel, Naumann, if you call that lady my aunt again.”

“How is she to be called then?”

“Mrs. Casaubon.”

“Good.  Suppose I get acquainted with her in spite of you, and find that she very much wishes to be painted?”