Now he had a secret which only Patrasche knew. There was a little
outhouse to the hut which no one entered but himself--a dreary place,
but with abundant clear light from the north. Here he had fashioned
himself rudely an easel in rough lumber, and here, on a great gray sea
of stretched paper, he had given shape to one of the innumerable fancies
which possessed his brain. No one had ever taught him anything; colours
he had no means to buy; he had gone without bread many a time to procure
even the few rude vehicles that he had here; and it was only in black or
white that he could fashion the things he saw. This great figure which
he had drawn here in chalk was only an old man sitting on a fallen
tree--only that. He had seen old Michel, the woodman, sitting so at
evening many a time. He had never had a soul to tell him of outline
or perspective, of anatomy or of shadow; and yet he had given all
the weary, worn-out age, all the sad, quiet patience, all the rugged,
care-worn pathos of his original, and given them so that the old, lonely
figure was a poem, sitting there meditative and alone, on the dead tree,
with the darkness of the descending night behind him.

It was rude, of course, in a way, and had many faults, no doubt; and yet
it was real, true in nature, true in art, and very mournful, and in a
manner beautiful.

Patrasche had lain quiet countless hours watching its gradual creation
after the labor of each day was done, and he knew that Nello had a
hope--vain and wild perhaps, but strongly cherished--of sending this
great drawing to compete for a prize of two hundred francs a year
which it was announced in Antwerp would be open to every lad of talent,
scholar or peasant, under eighteen, who would attempt to win it with
some unaided work of chalk or pencil. Three of the foremost artists in
the town of Rubens were to be the judges and elect the victor according