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Cellini himself had a fascination for me, for exactly the sa fro to the arden, in order to walk up and down alone in an endeavour to calitation which had suddenly seizedabout in feverish restlessness, I saw Cellini approaching, his head bent as if in thought, and his hands clasped behind his back As he drew near me, he raised his eyes--they were clear and darkly brilliant--he regardedhis hat with the graceful reverence peculiar to an Italian, he passed on, saying no word But the effect of his momentary presence upon itated Calmed, soothed and almost happy, I returned to Mrs Everard, and entered into her plans for the day with so hted

"If you go on like this," she said, "you will be perfectly well in a month"

I was utterly unable to account for the remedial influence Raffaello Cellini's presence had upon rateful for the respite it gave , and my now daily visits to the artist's studio were a pleasure and a privilege not to be foregone Moreover, I was never tired of looking at his pictures His subjects were all original, and soe picture particularly attracted me It was entitled "Lords of our Life and Death" Surrounded by rolling h with red flaht, half in shade Poised above it was a great Angel, upon whose called expression of deep sorrow, yearning pity, and infinite regret

Tears see lashes of this sweet yet stern Spirit; and in his strong right hand he held a draord--the sword of destruction-- pointed forever doards to the fated globe at his feet Beneath this Angel and the world he dominated was darkness--utter illimitable darkness But above hih a transparent veil of light goldenbeauty was seen--a face on which youth, health, hope, love, and ecstatic joy all shone with ineffable radiance It was the personification of Life--not life as we know it, brief and full of care--but Life Immortal and Love Triu before thisat it, not only with admiration, but with a sense of actual co in my favourite low chair opposite the picture, I rousedto the artist, as showing some water-colour sketches to Mrs Everard, I said abruptly: "Did you inor Cellini, or had you a model to copy from?"