large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb_65
large/5293/cruelpainter_1203_librivox_64kb_mp3/cruelpainter_1_macdonald_64kb
English
5293
Not a shade crossed the still sky of that brow, not a ripple disturbed the still sea of that cheek. She did not hate, she did not love the sufferers: the painter would not have her hate, for that would be to the injury of her loveliness: would not have her love, for he hated. NOT A SHADE CROSSED THE STILL SKY OF THAT BROW NOT A RIPPLE DISTURBED THE STILL SEA OF THAT CHEEK SHE DID NOT HATE SHE DID NOT LOVE THE SUFFERERS THE PAINTER WOULD NOT HAVE HER HATE FOR THAT WOULD BE TO THE INJURY OF HER LOVELINESS WOULD NOT HAVE HER LOVE FOR HE HATED
ess, 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. 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. Hence its very loveliness became almost hateful to those who beheld it. E 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 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 HENCE ITS VERY LOVELINESS BECAME ALMOST HATEFUL TO THOSE WHO BEHELD IT
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