ndustriously from nature, and perhaps would do well to seek Moor in
Flanders. Besides, he was afraid that Coello greatly overrated his
powers.

But the Spaniard eagerly cut him short:

"I have seen your portrait of Sophonisba. You are no longer a pupil, but
a rising artist. Moor is a peerless portrait-painter, and you have
profited greatly by his teaching. But Art has still higher aims. Every
living thing belongs to her. The Venus, the horse . . . which of those two
pictures won Apelles the greater fame? Not only copying, but creating
original ideas, leads to the pinnacle of art. Moor praised your vivid
imagination. We must use what we possess. Remember Buonarotti, Raphael!
Their compositions and frescos, have raised their names above all others.
Antonio has tormented you sufficiently with drawing lifeless things. When
you transfer these sketches, many times enlarged, to a broad surface, you
will learn more than in years of copying plaster-casts. A man must have
talent, courage and industry; everything else comes of its own accord,
and thank Heaven, you're a lucky fellow! Look at my horses--they are not
so bad, yet I never sketched a living one in my life till I was
commissioned to paint His Majesty on horseback. You shall have a better
chance. Go to the stables and the old riding-school to-morrow. First try
noble animals, then visit the market and shambles, and see how the
knackers look. If you make good speed, you shall soon see the first
ducats you yourself have earned." The golden reward possessed little
temptation for Ulrich, but he allowed himself to be persuaded by his
senior, and drew and painted horses and mares with pleasure and success,
working with Isabella and Coello's pupil, Felice de Liano, when they
sketched and painted from living models. When the scaffolding was erected
in the winter riding-school, he went there under the court-artist's
direction, to measure, arrange and finally transfer the painter's
sketches to the wide surfaces.

He did this with increasing satisfaction, for though Coello's sketches
possessed a certain hardness, they were boldly devised and pleased him.

The farther he progressed, the more passionately interested he became in
his work. To create on a grand scale delighted him, and the fully
occupied life, as well as the slight fatigue after his work was done,
which was sweetened by the joy of labor accomplished, were all beautiful,
enjoyable things; yet Ulrich felt that this was