Henry James

Summary

Henry James Travelling Companions (1919)

I have seen Tintoretto at Venice, Michael Angelo at Florence and Rome, Correggio at Parma; but I have looked at no other picture with an emotion equal to that which rose within me as this great creation of Leonardo slowly began to dawn upon my intelligence from the tragical twilight of its ruin. A work so nobly conceived can never utterly die, so long as the half-dozen main lines of its design remain. Neglect and malice are less cunning than the genius of the great painter. It has stored away with masterly skill such a wealth of beauty as only perfect love and sympathy can fully detect.
Source: Wikisource

Henry James Travelling Companions (1919)

In meddling with your picture I certainly took a great liberty. My misery is my excuse. You have money, materials, models—everything but talent. No, no, you're no painter; it's impossible! There isn't an intelligent line on your canvas. I, on the other hand, am a born painter. I've talent and nothing more. I came here to see M. Martinet; learning he was absent, I staid for very envy! I looked at your work, and found it a botch; at your empty stool and idle palette, and found them an immense temptation; at mademoiselle, and found her a perfect model.
Source: Wikisource

Henry James Travelling Companions (1919)

I complied, and perceived a two-horse vehicle advancing rapidly from the Italian quarter. "It's a carriage of some sort from Italy," I said. "But what—whom do you fear?"
She rose to her feet. "That my husband should overtake me," and she gave a half-frantic glance round the room, like a hunted stag at bay. "If it should be he, protect me! Do something, say something—anything! Say I'm not fit to go back to him. He wants me because he thinks me good. Say I'm not good—to your knowledge. Oh, Signore—Holy Virgin!"
Source: Wikisource

Get perspective with Kwize: daily news enlightened by great literature