Atwood Hammond High School - Post Yearbook (Atwood, IL)

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TWO GLORIES TRANSLATED BY BEN TOMUNSON STUDENT OF U. OF I. One day when the celebrated Flemish painter, Peter Paul Rubens, was going through the churches of Madrid, accompanied by his famous pupils, he entered the church of a humble monastery, of which tradition has not handed down the name. The famous artist found little or nothing to admire in that poor, ruined church, and was already going on, railing, as was his custom, against the bad taste of the monks of New Castile, when he noticed a certain picture half hidden in the shadows of the ugly chapel, approached it, and gave an exclamation of astonishment. His pupils surrounded him in a moment and asked: What have you found. Master?” Look!” said Rubens, pointing, as his only reply, to the canvas before him. The pupils were as overcome with wonder as the painter of the “Descent from the Cross. The picture represented the “Death of a Monk.” Very young and of a beauty which neither penance nor suffering had been able to efface, he was stretched on the tiles of his cell, with his eyes already veiled by death. One hand was extended and clasped a death-skull, while with the other he pressed to his heart a crucifix ot copper and wood. In the background of the canvas was seen painted another picture, which was represented as hanging near the bed from which the monk was supposed to have arisen, in order to die with greater humility on the hard ground. That second picture represented a dead girl, young and beautiful, placed on her bier and surrounded by funeral tapers and ric i. black hangings. No one could contemplate those two scenes, the one contained in the other, without understanding that they mutually completed and explained each other. An unfortunate love, a dead hope, a disillusionment of life, an eternal oblivion of the world; this is the mysterious poem that is drawn from the two ascetic dramas locked up in that canvas. Moreover, the color, the drawing, the composition, all revealed a genius of the first order. Master, who can have painted this magniBcent picture?” aske l the pupil , who had already approached the painting. “In this corner there hail been a name written,” rjplied the artist, “but a few months ago it was erased. As to the picture, it is not more than thirty nor less than twenty years old. “But the artist— The artist, according to the merit of the picture, might be Velasquez, Zurbaran, Ribera, or the young Murillo, with whom I am so charmed. But Velasquez does not feel in this manner. Neither is it Zurbaran, if attention is paid to the color and to the manner of seeing the subject. Still less should it be attributed to Murillo or to Ribera; the former is more tender and the latter more sombre, and besides the style belongs t » lhe school neither of the one nor of the other. Iu short. I do n t know the author of this painting, and I would even swear that I have never seen any of his works. 1 go still farther; I believe that the painter, unknown and perhaps even dead, who haft left the world such a marvel, ) 'longed to no school, and lias painted no other picture except this, nor could he have painted another that could h ive approach id it in m rit. This is a work of pure inspiration, a. personal experience, a reflection o. the soul, a fragment of his life .... But .... what an idea! Do you wish to know who is the author of this picture? Tnen it is this very dead man whom you s e in it!”

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