Lucretia — Complete

CHAPTER X. THE RECONCILIATION BETWEEN FATHER AND SON

A painter stood at work at the easel, his human model before him. He was employed on a nymph,—the Nymph Galatea. The subject had been taken before by Salvator, whose genius found all its elements in the wild rocks, gnarled, fantastic trees, and gushing waterfalls of the landscape; in the huge ugliness of Polyphemus the lover; in the grace and suavity and unconscious abandonment of the nymph, sleeking her tresses dripping from the bath. The painter, on a larger canvas (for Salvator’s picture, at least the one we have seen, is among the small sketches of the great artistic creator of the romantic and grotesque), had transferred the subject of the master; but he had left subordinate the landscape and the giant, to concentrate all his art on the person of the nymph. Middle-aged was the painter, in truth; but he looked old. His hair, though long, was gray and thin; his face was bloated by intemperance; and his hand trembled much, though, from habit, no trace of the tremor was visible in his work.

A boy, near at hand, was also employed on the same subject, with a rough chalk and a bold freedom of touch. He was sketching his design of a Galatea and Polyphemus on the wall; for the wall was only whitewashed, and covered already with the multiform vagaries whether of master or pupils,—caricatures and demigods, hands and feet, torsos and monsters, and Venuses. The rude creations, all mutilated, jarring, and mingled, gave a cynical, mocking, devil-may-care kind of aspect to the sanctum of art. It was like the dissection-room of the anatomist. The boy’s sketch was more in harmony with the walls of the studio than the canvas of the master. His nymph, accurately drawn, from the undressed proportions of the model, down to the waist, terminated in the scales of a fish. The forked branches of the trees stretched weird and imp-like as the hands of skeletons. Polyphemus, peering over the rocks, had the leer of a demon; and in his gross features there was a certain distorted, hideous likeness of the grave and symmetrical lineaments of Olivier Dalibard.

All around was slovenly, squalid, and poverty-stricken,—rickety, worn-out, rush-bottom chairs; unsold, unfinished pictures, pell-mell in the corner, covered with dust; broken casts of plaster; a lay-figure battered in its basket-work arms, with its doll-like face all smudged and besmeared. A pot of porter and a noggin of gin on a stained deal table, accompanied by two or three broken, smoke-blackened pipes, some tattered song-books, and old numbers of the “Covent Garden Magazine,” betrayed the tastes of the artist, and accounted for the shaking hand and the bloated form. A jovial, disorderly, vagrant dog of a painter was Tom Varney. A bachelor, of course; humorous and droll; a boon companion, and a terrible borrower. Clever enough in his calling; with pains and some method, he had easily gained subsistence and established a name; but he had one trick that soon ruined him in the business part of his profession. He took a fourth of his price in advance; and having once clutched the money, the poor customer might go hang for his picture. The only things Tom Varney ever fairly completed were those for which no order had been given; for in them, somehow or other, his fancy became interested, and on them he lavished the gusto which he really possessed. But the subjects were rarely salable. Nymphs and deities undraperied have few worshippers in England amongst the buyers of “furniture pictures.” And, to say truth, nymph and deity had usually a very equivocal look; and if they came from the gods, you would swear it was the gods of the galleries of Drury. When Tom Varney sold a picture, he lived upon clover till the money was gone. But the poorer and less steady alumni of the rising school, especially those at war with the Academy, from which Varney was excluded, pitied, despised, yet liked and courted him withal. In addition to his good qualities of blithe song-singer, droll story-teller, and stanch Bacchanalian, Tom Varney was liberally good-natured in communicating instruction really valuable to those who knew how to avail themselves of a knowledge he had made almost worthless to himself. He was a shrewd, though good-natured critic, had many little secrets of colouring and composition, which an invitation to supper, or the loan of ten shillings, was sufficient to bribe from him. Ragged, out of elbows, unshaven, and slipshod, he still had his set amongst the gay and the young,—a precious master, a profitable set for his nephew, Master Honore Gabriel! But the poor rapscallion had a heart larger than many honest, painstaking men. As soon as Gabriel had found him out, and entreated refuge from his fear of his father, the painter clasped him tight in his great slovenly arms, sold a Venus half-price to buy him a bed and a washstand, and swore a tremendous oath that the son of his poor guillotined sister should share the last shilling in his pocket, the last drop in his can.

Gabriel, fresh from the cheer of Laughton, and spoiled by the prodigal gifts of Lucretia, had little gratitude for shillings and porter. Nevertheless, he condescended to take what he could get, while he sighed, from the depths of a heart in which cupidity and vanity had become the predominant rulers, for a destiny more worthy his genius, and more in keeping with the sphere from which he had descended.

The boy finished his sketch, with an impudent wink at the model, flung himself back on his chair, folded his arms, cast a discontented glance at the whitened seams of the sleeves, and soon seemed lost in his own reflections. The painter worked on in silence. The model, whom Gabriel’s wink had aroused, half-flattered, half-indignant for a moment, lapsed into a doze. Outside the window, you heard the song of a canary,—a dingy, smoke-coloured canary that seemed shedding its plumes, for they were as ragged as the garments of its master; still, it contrived to sing, trill-trill-trill-trill-trill, as blithely as if free in its native woods, or pampered by fair hands in a gilded cage. The bird was the only true artist there, it sang as the poet sings,—to obey its nature and vent its heart. Trill-trill-trillela-la-la-trill-trill, went the song,—louder, gayer than usual; for there was a gleam of April sunshine struggling over the rooftops. The song at length roused up Gabriel; he turned his chair round, laid his head on one side, listened, and looked curiously at the bird.

At length an idea seemed to cross him; he rose, opened the window, drew in the cage, placed it on the chair, then took up one of his uncle’s pipes, walked to the fireplace, and thrust the shank of the pipe into the bars. When it was red-hot he took it out by the bowl, having first protected his hand from the heat by wrapping round it his handkerchief; this done, he returned to the cage. His movements had wakened up the dozing model. She eyed them at first with dull curiosity, then with lively suspicion; and presently starting up with an exclamation such as no novelist but Fielding dare put into the mouth of a female,—much less a nymph of such renown as Galatea,—she sprang across the room, wellnigh upsetting easel and painter, and fastened firm hold on Gabriel’s shoulders.

“The varment!” she cried vehemently; “the good-for-nothing varment! If it had been a jay, or a nasty raven, well and good; but a poor little canary!”

“Hoity-toity! what are you about, nephew? What’s the matter?” said Tom Varney, coming up to the strife. And, indeed, it was time; for Gabriel’s teeth were set in his catlike jaws, and the glowing point of the pipe-shank was within an inch of the cheek of the model.

“What’s the matter?” replied Gabriel, suddenly; “why, I was only going to try a little experiment.”

“An experiment? Not on my canary, poor dear little thing! The hours and hours that creature has strained its throat to say ‘Sing and be merry,’ when I had not a rap in my pocket! It would have made a stone feel to hear it.”

“But I think I can make it sing much better than ever,—only just let me try! They say that if you put out the eyes of a canary, it—”

Gabriel was not allowed to conclude his sentence; for here rose that clamour of horror and indignation from both painter and model which usually greets the announcement of every philosophical discovery,—at least, when about to be practically applied; and in the midst of the hubbub, the poor little canary, who had been fluttering about the cage to escape the hand of the benevolent operator, set up no longer the cheerful trill-trillela-la-trill, but a scared and heart-breaking chirp,—a shrill, terrified twit-twit-twitter-twit.

“Damn the bird! Hold your tongues!” cried Gabriel Varney, reluctantly giving way, but still eying the bird with the scientific regret with which the illustrious Majendie might contemplate a dog which some brute of a master refused to disembowel for the good of the colics of mankind.

The model seized on the cage, shut the door of the wires, and carried it off. Tom Varney drained the rest of his porter, and wiped his forehead with the sleeve of his coat.

“And to use my pipe for such cruelty! Boy, boy, I could not have believed it! But you were not in earnest; oh, no, impossible! Sukey, my love—Galatea the divine—calm thy breast; Cupid did but jest.

“If you don’t whip the little wretch within an inch of his life, he’ll have a gallows end on’t,” replied Galatea.

“Go, Cupid, go and kiss Galatea, and make your peace.

And ‘t is no use asking for wine, or for gin either,—not a drop in the noggin!”

All this while Gabriel, disdaining the recommendations held forth to him, was employed in brushing his jacket with a very mangy-looking brush; and when he had completed that operation he approached his uncle, and coolly thrust his hands into that gentleman’s waistcoat-pockets.

“Uncle, what have you done with those seven shillings? I am going out to spend the day.”

“If you give them to him, Tom, I’ll scratch your eyes out,” cried the model; “and then we’ll see how you’ll sing. Whip him, I say, whip him!”

But, strange to say, this liberty of the boy quite reopened the heart of his uncle,—it was a pleasure to him, who put his hands so habitually into other people’s pockets, to be invested with the novel grandeur of the man sponged upon. “That’s right, Cupid, son of Cytherea; all’s common property amongst friends. Seven shillings, I have ‘em not. ‘They now are five who once were seven;’ but such as they are, we’ll share.

“Crowns bear no division, my uncle,” said Gabriel, dryly; and he pocketed the five shillings. Then, having first secured his escape by gaining the threshold, he suddenly seized one of the rickety chairs by its leg, and regardless of the gallantries due to the sex, sent it right against the model, who was shaking her fist at him. A scream and a fall and a sharp twit from the cage, which was hurled nearly into the fireplace, told that the missive had taken effect. Gabriel did not wait for the probable reaction; he was in the streets in an instant. “This won’t do,” he muttered to himself; “there is no getting on here. Foolish drunken vagabond! no good to be got from him. My father is terrible, but he will make his way in the world. Umph! if I were but his match,—and why not? I am brave, and he is not. There’s fun, too, in danger.”

Thus musing, he took his way to Dalibard’s lodgings. His father was at home. Now, though they were but lodgings, and the street not in fashion, Olivier Dalibard’s apartments had an air of refinement, and even elegance, that contrasted both the wretched squalor of the abode Gabriel had just left and the meanness of Dalibard’s former quarters in London, The change seemed to imply that the Provencal had already made some way in the world. And, truth to say, at all times, even in the lowest ebb of his fortunes, there was that indescribable neatness and formality of precision about all the exterior seemings of the ci-devant friend of the prim Robespierre which belong to those in whom order and method are strongly developed,—qualities which give even to neediness a certain dignity. As the room and its owner met the eye of Gabriel, on whose senses all externals had considerable influence, the ungrateful young ruffian recalled the kind, tattered, slovenly uncle, whose purse he had just emptied, without one feeling milder than disgust. Olivier Dalibard, always careful, if simple, in his dress, with his brow of grave intellectual power, and his mien imposing, not only from its calm, but from that nameless refinement which rarely fails to give to the student the air of a gentleman,—Olivier Dalibard he might dread, he might even detest; but he was not ashamed of him.

“I said I would visit you, sir, if you would permit me,” said Gabriel, in a tone of respect, not unmingled with some defiance, as if in doubt of his reception.

The father’s slow full eye, so different from the sidelong, furtive glance of Lucretia, turned on the son, as if to penetrate his very heart.

“You look pale and haggard, child; you are fast losing your health and beauty. Good gifts these, not to be wasted before they can be duly employed. But you have taken your choice. Be an artist,—copy Tom Varney, and prosper.” Gabriel remained silent, with his eyes on the floor.

“You come in time for my farewell,” resumed Dalibard. “It is a comfort, at least, that I leave your youth so honourably protected. I am about to return to my country; my career is once more before me!”

“Your country,—to Paris?”

“There are fine pictures in the Louvre,—a good place to inspire an artist!”

“You go alone, Father!”

“You forget, young gentleman, you disown me as father! Go alone! I thought I told you in the times of our confidence, that I should marry Lucretia Clavering. I rarely fail in my plans. She has lost Laughton, it is true; but 10,000 pounds will make a fair commencement to fortune, even at Paris. Well, what do you want with me, worthy godson of Honore Gabriel Mirabeau?”

“Sir, if you will let me, I will go with you.”

Dalibard shaded his brow with his hand, and reflected on the filial proposal. On the one hand, it might be convenient, and would certainly be economical, to rid himself evermore of the mutinous son who had already thrown off his authority; on the other hand, there was much in Gabriel, mutinous and even menacing as he had lately become, that promised an unscrupulous tool or a sharp-witted accomplice, with interests that every year the ready youth would more and more discover were bound up in his plotting father’s. This last consideration, joined, if not to affection, still to habit,—to the link between blood and blood, which even the hardest find it difficult to sever,—prevailed. He extended his pale hand to Gabriel, and said gently,—

“I will take you, if we rightly understand each other. Once again in my power, I might constrain you to my will, it is true. But I rather confer with you as man to man than as man to boy.”

“It is the best way,” said Gabriel, firmly.

“I will use no harshness, inflict no punishment,—unless, indeed, amply merited by stubborn disobedience or wilful deceit. But if I meet with these, better rot on a dunghill than come with me! I ask implicit confidence in all my suggestions, prompt submission to all my requests. Grant me but these, and I promise to consult your fortune as my own, to gratify your tastes as far as my means will allow, to grudge not your pleasures, and when the age for ambition comes, to aid your rise if I rise myself,—nay, if well contented with you, to remove the blot from your birth, by acknowledging and adopting you formally as my son.”