He distinctly recalled her eyes and lips, and during the last few days remaining to him, his Madonna obtained Florette’s joyous expression, while the sensual, alluring charm, that had been peculiar to the mouth of the musician’s daughter, soon hovered around the Virgin’s lips.

Ay, this was a mother, this must be a true mother, for the picture resembled his own!

The gloomier the mood that pervaded his own soul, the more sunny and bright the painting seemed.  He could not weary of gazing at it, for it transported him to the happiest hours of his childhood, and when the Madonna looked down upon him, it seemed as if he beheld the balsams behind the window of the smithy in the market-place, and again saw the Handsome nobles, who lifted him from his laughing mother’s lap to set him on their shoulders.

Yes!  In this picture he had been aided by the “joyous art,” in whose honor Paolo Veronese, had at one of Titian’s banquets, started up, drained a glass of wine to the dregs, and hurled it through the window into the canal.

He believed himself sure of success, and could no longer cherish anger against Isabella.  She had led him back into the right path, and it would be sweet, rapturously sweet, to bear the beloved maiden tenderly and gently in his strong arms over the rough places of life.

One morning, according to the agreement, he notified Coello that the Madonna was completed.

The Spanish artist appeared at noon, but did not come alone, and the man, who preceded him, was no less important a personage than the king himself.

With throbbing heart, unable to utter a single word, Ulrich opened the door of the studio, bowing low before the monarch, who without vouchsafing him a single glance, walked solemnly to the painting.

Coello drew aside the cloth that covered it, and the sarcastic chuckle Ulrich had so often heard instantly echoed from the king’s lips; then turning to Coello he angrily exclaimed, loud enough to be heard by the young artist: 

“Scandalous!  Insulting, offensive botchwork!  A Bacchante in the garb of a Madonna!  And the child!  Look at those legs!  When he grows up, he may become a dancing-master.  He who paints such Madonnas should drop his colors!  His place is the stable—­among refractory horses.”

Coello could make no reply, but the king, glancing at the picture again, cried wrathfully: 

“A Christian’s work, a Christian’s!  What does the reptile who painted this know of the mother, the Virgin, the stainless lily, the thornless rose, the path by which God came to men, the mother of sorrow, who bought the world with her tears, as Christ did with His sacred blood.  I have seen enough, more than enough!  Escovedo is waiting for me outside!  We will discuss the triumphal arch to-morrow!”

Philip left the studio, the court-artist accompanying him to the door.

When he returned, the unhappy youth was still standing in the same place, gazing, panting for breath, at his condemned work.