shattered, the broken doors of the cupboards hung into the rooms on their
bent hinges. The widow and her children were lying in the studio on a
heap of straw. This touched his heart, and he gave alms with an open
hand to the sorrowing woman. A few pictures of the saints, which the
Spaniards had spared, hung on the walls; the easel, paints and brushes
had been left untouched.

A thought, which he instantly carried into execution, entered his mind.
He would paint a new standard! How his heart beat, when he again stood
before the easel!

He regarded the heretics as heathens. The Spaniards were shortly going
to fight against them and for the faith. So be painted the Saviour on
one side of the standard, the Virgin on the other. The artist's widow
sat to him for the Madonna, a young soldier for the Christ.

No scruples, no consideration for the criticisms of teachers now checked
his creating hand; the power was his, and whatever he did must be right.

He placed upon the Saviour's bowed figure, Costa's head, as he had
painted it in Titian's studio, and the Madonna, in defiance of the stern
judges in Madrid, received the sibyl's face, to please himself and do
honor to his mother. He made her younger, transformed her white hair to
gleaming golden tresses. One day he asked Flora to sit still and think
of something very serious; he wanted to sketch her.

She gaily placed herself in position, saying:

"Be quick, for serious thoughts don't last long with me."