His beloved dead, who in the tumult of carnival mirth had vanished from his memory, again rose before his mind, among them the doctor, who gazed rebukingly at him with his clear, thoughtful eyes.
Like an inspiration a thought darted through the youth's brain.

He could and would paint Costa, his friend and teacher, Ruth's father.
The portrait he had drawn when a boy appeared before his memory, feature for feature.

A red pencil lay close at hand.
Sketching the outlines with a few hasty strokes, he seized the brush, and while hurriedly guiding it and mixing the colors, he saw in fancy Costa standing before him, asking him to paint his portrait.
Ulrich had never forgotten the mild expression of the eyes, the smile hovering about the delicate lips, and now delineated them as well as he could.

The moments slipped by, and the portrait gained roundness and life.

The youth stepped back to see what it still needed, and once more called upon the "word" from the inmost depths of his heart; at the same instant the door opened, and leaning on a younger painter, Titian, with several other artists, entered the studio.
He looked at the picture, then at Ulrich, and said with an approving smile: "See, see! Not too much of the Jew, and a perfect apostle! A Paul, or with longer hair and a little more youthful aspect, an admirable St.John.Well done, well done! my son!" Well done, well done! These words from Titian had ennobled his work; they echoed loudly in his soul, and the measure of his bliss threatened to overflow, when no less a personage than the famous Paolo Veronese, invited him to come to his studio as a pupil on Saturday.
Enraptured, animated by fresh hope, he threw himself into his gondola.
Everyone had left the palace, where he lodged with de Soto.