large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb_93
large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb
English
5293
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. 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
hole of the execution bore witness to the fact that upon this original beauty the painter had directed the artillery of anguish to bring down the sky-soaring heights of its divinity to the level of a hated existence. To do this, he worked in perfect accordance with artistic law, falsifying no line of the original forms. It was the suffering, rather than his pencil, that wrought the change. The latter was the willing instrument to record what the imagination conceived with a cruelty composed enough to be correct. To enhance the beauty he had thus distorted, and so to enhance yet further the suffering that produced the distortion, he would often represent attendant demons, whom he made as ugly as his imagination could compass; avoiding, however, all grotesqueness beyond what was sufficient to indicate that they were demons, and not men. Their ugliness rose from hate, envy, and all evil passions; amongst which he especially delighted to represent a gloating exultation over human distress.  BEAUTIFUL AND THE WHOLE OF THE EXECUTION BORE WITNESS TO THE FACT THAT UPON THIS ORIGINAL BEAUTY THE PAINTER HAD DIRECTED THE ARTILLERY OF ANGUISH TO BRING DOWN THE SKY SOARING HEIGHTS OF ITS DIVINITY TO THE LEVEL OF A HATED EXISTENCE TO DO THIS HE WORKED IN PERFECT ACCORDANCE WITH ARTISTIC LAW FALSIFYING NO LINE OF THE ORIGINAL FORMS IT WAS THE SUFFERING RATHER THAN HIS PENCIL THAT WROUGHT THE CHANGE THE LATTER WAS THE WILLING INSTRUMENT TO RECORD WHAT THE IMAGINATION CONCEIVED WITH A CRUELTY COMPOSED ENOUGH TO BE CORRECT TO ENHANCE THE BEAUTY HE HAD THUS DISTORTED AND SO TO ENHANCE YET FURTHER THE SUFFERING THAT PRODUCED THE DISTORTION HE WOULD OFTEN REPRESENT ATTENDANT DEMONS WHOM HE MADE AS UGLY AS HIS IMAGINATION COULD COMPASS AVOIDING HOWEVER ALL GROTESQUENESS BEYOND WHAT WAS SUFFICIENT TO INDICATE THAT THEY WERE DEMONS AND NOT MEN THEIR UGLINESS ROSE FROM HATE ENVY AND ALL EVIL PASSIONS AMONGST WHICH HE ESPECIALLY DELIGHTED TO REPRESENT A GLOATING EXULTATION OVER HUMAN DISTRESS
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