This invitation aroused more perplexity than pleasure in Ulrich’s mind, for it was not in accordance with Moor’s opinions.  Fear of his fellow-men no longer restrained him, so he frankly said that he would rather sketch industriously from nature, and perhaps would do well to seek Moor in Flanders.  Besides, he was afraid that Coello greatly overrated his powers.

But the Spaniard eagerly cut him short: 

“I have seen your portrait of Sophonisba.  You are no longer a pupil, but a rising artist.  Moor is a peerless portrait-painter, and you have profited greatly by his teaching.  But Art has still higher aims.  Every living thing belongs to her.  The Venus, the horse . . . which of those two pictures won Apelles the greater fame?  Not only copying, but creating original ideas, leads to the pinnacle of art.  Moor praised your vivid imagination.  We must use what we possess.  Remember Buonarotti, Raphael!  Their compositions and frescos, have raised their names above all others.  Antonio has tormented you sufficiently with drawing lifeless things.  When you transfer these sketches, many times enlarged, to a broad surface, you will learn more than in years of copying plaster-casts.  A man must have talent, courage and industry; everything else comes of its own accord, and thank Heaven, you’re a lucky fellow!  Look at my horses—­they are not so bad, yet I never sketched a living one in my life till I was commissioned to paint His Majesty on horseback.  You shall have a better chance.  Go to the stables and the old riding-school to-morrow.  First try noble animals, then visit the market and shambles, and see how the knackers look.  If you make good speed, you shall soon see the first ducats you yourself have earned.”  The golden reward possessed little temptation for Ulrich, but he allowed himself to be persuaded by his senior, and drew and painted horses and mares with pleasure and success, working with Isabella and Coello’s pupil, Felice de Liano, when they sketched and painted from living models.  When the scaffolding was erected in the winter riding-school, he went there under the court-artist’s direction, to measure, arrange and finally transfer the painter’s sketches to the wide surfaces.

He did this with increasing satisfaction, for though Coello’s sketches possessed a certain hardness, they were boldly devised and pleased him.

The farther he progressed, the more passionately interested he became in his work.  To create on a grand scale delighted him, and the fully occupied life, as well as the slight fatigue after his work was done, which was sweetened by the joy of labor accomplished, were all beautiful, enjoyable things; yet Ulrich felt that this was not exactly the right course, that a steeper, more toilsome path must lead to the height he desired to attain.

He lacked the sharp spurring to do better and better, the censure of a master, who was greatly his superior.  Praise for things, which did not satisfy himself, vexed him and roused his distrust.