What is this soul, then? Whence
Came it?—It does not seem my own, and I
Have no self-passion or identity!
Some fearful end must be—
. . . . . .
There never lived a mortal man, who bent
His appetite beyond his natural sphere,
But starved and died.—KEATS: Endymion.

On entering his home, Warner pushed aside, for the first time in his life with disrespect, his aged and kindly relation, who, as if in mockery of the unfortunate artist stood prepared to welcome and congratulate his return. Bearing his picture in his arms, he rushed upstairs, hurried into his room, and locked the door. Hastily he tore aside the cloth which had been drawn over the picture; hastily and tremblingly he placed it upon the frame accustomed to support it, and then, with a long, long, eager, searching, scrutinizing glance, he surveyed the once beloved mistress of his worship. Presumption, vanity, exaggerated self-esteem, are, in their punishment, supposed to excite ludicrous not sympathetic emotion; but there is an excess of feeling, produced by whatever cause it may be, into which, in spite of ourselves, we are forced to enter. Even fear, the most contemptible of the passions, becomes tragic the moment it becomes an agony.

"Well, well!" said Warner, at last, speaking very slowly, "it is over,—it was a pleasant dream,—but it is over,—I ought to be thankful for the lesson." Then suddenly changing his mood and tone, he repeated, "Thankful! for what? that I am a wretch,—a wretch more utterly hopeless and miserable and abandoned than a man who freights with all his wealth, his children, his wife, the hoarded treasures and blessings of an existence, one ship, one frail, worthless ship, and, standing himself on the shore, sees it suddenly go down! Oh, was I not a fool,—a right noble fool,—a vain fool,—an arrogant fool,—a very essence and concentration of all things that make a fool, to believe such delicious marvels of myself! What, man!" (here his eye saw in the opposite glass his features, livid and haggard with disease, and the exhausting feelings which preyed within him)—"what, man! would nothing serve thee but to be a genius,—thee, whom Nature stamped with her curse! Dwarf-like and distorted, mean in stature and in lineament, thou wert, indeed, a glorious being to perpetuate grace and beauty, the majesties and dreams of art! Fame for thee, indeed— ha-ha! Glory—ha-ha! a place with Titian, Correggio, Raphael—ha—ha —ha! O, thrice modest, thrice-reasonable fool! But this vile daub; this disfigurement of canvas; this loathed and wretched monument of disgrace; this notable candidate for—ha—ha—immortality! this I have, at least, in my power." And seizing the picture, he dashed it to the ground, and trampled it with his feet upon the dusty boards, till the moist colours presented nothing but one confused and dingy stain.

This sight seemed to recall him for a moment. He paused, lifted up the picture once more, and placed it on the table. "But," he muttered, "might not this critic be envious? am I sure that he judged rightly—fairly? The greatest masters have looked askant and jealous at their pupils' works. And then, how slow, how cold, how damned cold, how indifferently he spoke; why, the very art should have warmed him more. Could he have—No, no, no: it was true, it was! I felt the conviction thrill through me like a searing iron. Burn it—did he say—ay—burn it: it shall be done this instant."

And, hastening to the door, he undid the bolt. He staggered back as he beheld his old and nearest surviving relative, the mother of his father, seated upon the ground beside the door, terrified by the exclamations she did not dare to interrupt. She rose slowly, and with difficulty as she saw him; and, throwing around him the withered arms which had nursed his infancy, exclaimed, "My child!—my poor—poor child! what has come to you of late? you, who were so gentle, so mild, so quiet,—you are no longer the same,—and oh, my son, how ill you look: your father looked so just before he died!"

"Ill!" said he, with a sort of fearful gayety, "ill—no: I never was so well; I have been in a dream till now; but I have woke at last. Why, it is true that I have been silent and shy, but I will be so no more. I will laugh, and talk, and walk, and make love, and drink wine, and be all that other men are. Oh, we will be so merry! But stay here, while I fetch a light."

"A light, my child, for what?"

"For a funeral!" shouted Warner, and, rushing past her, he descended the stairs, and returned almost in an instant with a light.

Alarmed and terrified, the poor old woman had remained motionless and weeping violently. Her tears Warner did not seem to notice; he pushed her gently into the room, and began deliberately, and without uttering a syllable, to cut the picture into shreds.

"What are you about, my child?" cried the old woman "you are mad; it is your beautiful picture that you are destroying!"

Warner did not reply, but going to the hearth, piled together, with nice and scrupulous care, several pieces of paper, and stick, and matches, into a sort of pyre; then, placing the shreds of the picture upon it, he applied the light, and the whole was instantly in a blaze.

"Look, look!" cried he, in an hysterical tone, "how it burns and crackles and blazes! What master ever equalled it now?—no fault now in those colours,—no false tints in that light and shade! See how that flame darts up and soars!—that flame is my spirit! Look—is it not restless?—does it not aspire bravely?—why, all its brother flames are grovellers to it!—and now,—why don't you look!—it falters—fades—droops—and—ha—ha—ha! poor idler, the fuel is consumed—and—it is darkness."

As Warner uttered these words his eyes reeled; the room swam before him; the excitement of his feeble frame had reached its highest pitch; the disease of many weeks had attained its crisis; and, tottering back a few paces, he fell upon the floor, the victim of a delirious and raging fever.

But it was not thus that the young artist was to die. He was reserved for a death that, like his real nature, had in it more of gentleness and poetry. He recovered by slow degrees, and his mind, almost in spite of himself, returned to that profession from which it was impossible to divert the thoughts and musings of many years. Not that he resumed the pencil and the easel: on the contrary, he could not endure them in his sight; they appeared, to a mind festered and sore, like a memorial and monument of shame. But he nursed within him a strong and ardent desire to become a pilgrim to that beautiful land of which he had so often dreamed, and which the innocent destroyer of his peace had pointed out as the theatre of inspiration and the nursery of future fame.

The physicians who, at Talbot's instigation, attended him, looked at his hectic cheek and consumptive frame, and readily flattered his desire; and Talbot, no less interested in Warner's behalf on his own account than bound by his promise to Clarence, generously extended to the artist that bounty which is the most precious prerogative of the rich. Notwithstanding her extreme age, his grandmother insisted upon attending him: there is in the heart of woman so deep a well of love that no age can freeze it. They made the voyage: they reached the shore of the myrtle and the vine, and entered the Imperial City. The air of Rome seemed at first to operate favourably upon the health of the English artist. His strength appeared to increase, his spirit to expand; and though he had relapsed into more than his original silence and reserve, he resumed, with apparent energy, the labours of the easel: so that they who looked no deeper than the surface might have imagined the scar healed, and the real foundation of future excellence begun.

But while Warner most humbled himself before the gods of the pictured world; while the true principles of the mighty art opened in their fullest glory on his soul; precisely at this very moment shame and despondency were most bitter at his heart: and while the enthusiasm of the painter kindled, the ambition of the man despaired. But still he went on, transfusing into his canvas the grandeur and simplicity of the Italian school; still, though he felt palpably within him the creeping advance of the deadliest and surest enemy to fame, he pursued, with an unwearied ardour, the mechanical completion of his task; still, the morning found him bending before the easel, and the night brought to his solitary couch meditation rather than sleep. The fire, the irritability which he had evinced before his illness had vanished, and the original sweetness of his temper had returned; he uttered no complaint, he dwelt upon no anticipation of success; hope and regret seemed equally dead within him; and it was only when he caught the fond, glad eyes of his aged attendant that his own filled with tears, or that the serenity of his brow darkened into sadness.

This went on for some months; till one evening they found the painter by his window, seated opposite to an unfinished picture. The pencil was still in his hand; the quiet of settled thought was still upon his countenance; the soft breeze of a southern twilight waved the hair livingly from his forehead; the earliest star of a southern sky lent to his cheek something of that subdued lustre which, when touched by enthusiasm, it had been accustomed to wear; but these were only the mockeries of life: life itself was no more! He had died, reconciled, perhaps, to the loss of fame, in discovering that Art is to be loved for itself, and not for the rewards it may bestow upon the artist.

There are two tombs close to each other in the strangers' burial-place at Rome: they cover those for whom life, unequally long, terminated in the same month. The one is of a woman, bowed with the burden of many years: the other darkens over the dust of the young artist.