large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb_75
large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb
English
5293
In this, however, his fierceness was only more fully displayed. For in no case did this form manifest any relation either to the actors or the endurers in the picture. IN THIS HOWEVER HIS FIERCENESS WAS ONLY MORE FULLY DISPLAYED FOR IN NO CASE DID THIS FORM MANIFEST ANY RELATION EITHER TO THE ACTORS OR THE ENDURERS IN THE PICTURE
e, envy, and all evil passions; amongst which he especially delighted to represent a gloating exultation over human distress. And often in the midst of his clouds of demon faces, would some one who knew him recognise the painter’s own likeness, such as the mirror might have presented it to him when he was busiest over the incarnation of some exquisite torture. But apparently with the wish to avoid being supposed to choose such representations for their own sakes, he always found a story, often in the histories of the church, whose name he gave to the painting, and which he pretended to have inspired the pictorial conception. No one, however, who looked upon his suffering martyrs, could suppose for a moment that he honoured their martyrdom. They were but the vehicles for his hate of humanity. He was the torturer, and not Diocletian or Nero. But, stranger yet to tell, there was no picture, whatever its subject, into which he did not introduce one form of placid and harmonious loveliness. IR UGLINESS ROSE FROM HATE ENVY AND ALL EVIL PASSIONS AMONGST WHICH HE ESPECIALLY DELIGHTED TO REPRESENT A GLOATING EXULTATION OVER HUMAN DISTRESS AND OFTEN IN THE MIDST OF HIS CLOUDS OF DEMON FACES WOULD SOME ONE WHO KNEW HIM RECOGNISE THE PAINTER'S OWN LIKENESS SUCH AS THE MIRROR MIGHT HAVE PRESENTED IT TO HIM WHEN HE WAS BUSIEST OVER THE INCARNATION OF SOME EXQUISITE TORTURE BUT APPARENTLY WITH THE WISH TO AVOID BEING SUPPOSED TO CHOOSE SUCH REPRESENTATIONS FOR THEIR OWN SAKES HE ALWAYS FOUND A STORY OFTEN IN THE HISTORIES OF THE CHURCH WHOSE NAME HE GAVE TO THE PAINTING AND WHICH HE PRETENDED TO HAVE INSPIRED THE VICTORIAL CONCEPTION NO ONE HOWEVER WHO LOOKED UPON HIS SUFFERING MARTYRS COULD SUPPOSE FOR A MOMENT THAT HE HONORED THEIR MARTYRDOM THEY WERE BUT THE VEHICLES FOR HIS HATE OF HUMANITY HE WAS THE TORTURER AND NOT DIOCLETIAN OR NERO BUT STRANGER YET TO TELL THERE WAS NO PICTURE WHATEVER ITS SUBJECT INTO WHICH HE DID NOT INTRODUCE ONE FORM OF PLACID AND HARMONIOUS LOVELINESS
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