He looked and listened; distinguishing his old master’s name, and hearing him praised without stint as a portrait-painter.  He was questioned about him, and gave confused answers.

Then the guests rose.

The February sun was shining into the lofty window, where Titian seated himself to talk more gaily than before with Paolo Cagliari, Veronese, and other great artists and nobles.

Again Ulrich heard Moor mentioned.  Then the old man, from whom the youth had not averted his eyes for an instant, beckoned, and Cagliari called him, saying that he, the gallant Antonio Moor’s pupil, must now show what he could do; the Master, Titian, would give him a task.

A shudder ran through his frame; cold drops of perspiration, extorted by fear, stood on his brow.

The old man now invited him to accompany his nephew to the studio.  Daylight would last an hour longer.  He might paint a Jew; no usurer nor dealer in clothes, but one of the noble race of prophets, disciples, apostles.

Ulrich stood before the easel.

For the first time after a long period he again called upon the “word,” and did so fervently, with all his heart.  His beloved dead, who in the tumult of carnival mirth had vanished from his memory, again rose before his mind, among them the doctor, who gazed rebukingly at him with his clear, thoughtful eyes.

Like an inspiration a thought darted through the youth’s brain.  He could and would paint Costa, his friend and teacher, Ruth’s father.

The portrait he had drawn when a boy appeared before his memory, feature for feature.  A red pencil lay close at hand.

Sketching the outlines with a few hasty strokes, he seized the brush, and while hurriedly guiding it and mixing the colors, he saw in fancy Costa standing before him, asking him to paint his portrait.

Ulrich had never forgotten the mild expression of the eyes, the smile hovering about the delicate lips, and now delineated them as well as he could.  The moments slipped by, and the portrait gained roundness and life.  The youth stepped back to see what it still needed, and once more called upon the “word” from the inmost depths of his heart; at the same instant the door opened, and leaning on a younger painter, Titian, with several other artists, entered the studio.

He looked at the picture, then at Ulrich, and said with an approving smile:  “See, see!  Not too much of the Jew, and a perfect apostle!  A Paul, or with longer hair and a little more youthful aspect, an admirable St. John.  Well done, well done! my son!”

Well done, well done!  These words from Titian had ennobled his work; they echoed loudly in his soul, and the measure of his bliss threatened to overflow, when no less a personage than the famous Paolo Veronese, invited him to come to his studio as a pupil on Saturday.

Enraptured, animated by fresh hope, he threw himself into his gondola.