Louvre. And all because our white rabbit had sacrificed its heart's blood.
"At eleven next morning Guarneresi himself, coming to the studio, found me exhausted and asleep upon the floor. When he demanded explanations, I pointed in silence to the finished picture upon my easel.
"I thought the man would go frantic. He regarded it for an instant, with intolerance fading from his bearded face. Then his mouth gaped open, and a succession of low exclamations in his native tongue came forth. His raised hands opened and shut in the gesture I knew to mean unrestrained delight.
"Suddenly he dashed to the easel, and, before I could offer resistance, he snatched down my picture and ran with it out of the studio and down the stairs into the narrow street. I followed, but I was not swift enough. He had disappeared.
"In half an hour he returned with four brother artists who had studios nearby. The others were more than lavish in their praise, terming my picture the greatest masterpiece turned out in the Quarter for years. Guarneresi himself was less demonstrative now, but I detected tears in his eyes when he turned to me.
"'The pupil has become the master,' he said simply. 'Go! I did not teach you this, and I cannot teach you more. Always I shall boast, however, that Signor Pemberton painted his first great picture in my studio.'
"The next day I rented a studio of my own and moved out my effects immediately. I started to paint in earnest. There is little to relate of the next few months. A wraith of the inspiration which had given birth to my great picture still lingered, but I was no better than mediocre in my work. True the experience and accomplishment had improved me somewhat in use of color, but I learned the galling truth soon enough that never could I attain that same fervor of artistry again—unless. . . .
"After four months of ineffectual striving—during which time I completed two unsatisfactory canvases—I yielded, and bought myself a second white rabbit. What was my horror now to discover, when I treated the beast as I had treated its predecessor, that no wild thrill of inspiration assaulted me.
"I could mix and apply colors a trifle more gaudily, yet the suffering and blood of this animal had lost its potent effect upon me. After a day or two the solution occurred. Lusts of The Magi had exhausted the stimulus which rabbits could furnish.
"Disconsolate now, I allowed my work to flag. Though I knew in my heart that the one picture I had done was splendid in its way, I hated to believe that in it I had reached the peak of artistic production. Yet I could arouse in myself no more than the puerile enthusiasm for methodical slapping on of oils I so ridiculed in other mediocre painters. Finally I stopped altogether, and gave myself over to a fit of depression, absinthe and cigarettes.
"Guarneresi visited me one day, and finding me so badly in the dumps prescribed fresh air and sunshine. As I refused flatly to travel, knowing my ailment to be of the subjective sort, not cured by glimpses of pastures new, he lent me his saddle mare, a fine black animal with white fetlocks and a star upon her forehead. I agreed listlessly to ride her each day.
"Three weeks slipped by. I had kept my promise—actually enjoying the exercise—but without any of the beneficent results appearing. I was in fair physical health—only a trifle listless—it is true, yet whenever I set myself to paint a greater inhibition of spiritual and mental weariness seemed to hold me back. Little by little, the ghastly conviction forced itself upon me that as an artist I had shot my bolt.
