Уилки Коллинз - Hide and Seek

Then came the happy day when the secret was revealed, and afterwards the pleasant years when poor Mrs. Blyth’s most splendid visions of luxury were all gradually realized through her husband’s exertions in his profession. But for his wife’s influence, Valentine would have been in danger of abandoning high Art and Classical Landscape altogether, for cheap portrait-painting, cheap copying, and cheap studies of Still Life. But Mrs. Blyth, bedridden as she was, contrived to preserve all her old influence over the labors of the Studio, and would ask for nothing new, and receive nothing new, in her room, except on condition that her husband was to paint at least one picture of High Art every year, for the sake (as she proudly said) of “asserting his intellect and his reputation in the eyes of the public.” Accordingly, Mr. Blyth’s time was pretty equally divided between the production of great unsaleable “compositions,” which were always hung near the ceiling in the Exhibition, and of small marketable commodities, which were as invariably hung near the floor.

Valentine’s average earnings from his art, though humble enough in amount, amply sufficed to fulfill the affectionate purpose for which, to the last farthing, they were rigorously set aside. “Lavvie’s Drawing-Room” (this was Mr. Blyth’s name for his wife’s bed-room) really looked as bright and beautiful as any royal chamber in the universe. The rarest flowers, the prettiest gardens under glass, bowls with gold and silver fish in them, a small aviary of birds, an Aeolian harp to put on the window-sill in summertime, some of Valentine’s best drawings from the old masters, prettily-framed proof-impressions of engravings done by Mrs. Blyth’s father, curtains and hangings of the tenderest color and texture, inlaid tables, and delicately-carved book-cases, were among the different objects of refinement and beauty which, in the course of years, Mr. Blyth’s industry had enabled him to accumulate for his wife’s pleasure. No one but himself ever knew what he had sacrificed in laboring to gain these things. The heartless people whose portraits he had painted, and whose impertinences he had patiently submitted to; the mean bargainers who had treated him like a tradesman; the dastardly men of business who had disgraced their order by taking advantage of his simplicity—how hardly and cruelly such insect natures of this world had often dealt with that noble heart! how despicably they had planted their small gad-fly stings in the high soul which it was never permitted to them to subdue!

No! not once to subdue, not once to tarnish! All petty humiliations were forgotten in one look at “Lavvie’s Drawing-Room;” all stain of insolent words vanished from Valentine’s memory in the atmosphere of the Studio. Never was a more superficial judgment pronounced than when his friends said that he had thrown away his whole life, because he had chosen a vocation in which he could win no public success. The lad’s earliest instincts had indeed led him truly, after all. The art to which he had devoted himself was the only earthly pursuit that could harmonize as perfectly with all the eccentricities as with all the graces of his character, that could mingle happily with every joy, tenderly with every grief; belonging to the quiet, simple, and innocent life, which, employ him anyhow, it was in his original nature to lead. But for this protecting art, under what prim disguises, amid what foggy social climates of class conventionality, would the worlds clerical, legal, mercantile, military, naval, or dandy, have extinguished this man, if any one of them had caught him in its snares! Where would then have been his frolicsome enthusiasm that nothing could dispirit; his inveterate oddities of thought, speech, and action, which made all his friends laugh at him and bless him in the same breath; his affections, so manly in their firmness, so womanly in their tenderness, so childlike in their frank, fearless confidence that dreaded neither ridicule on the one side, nor deception on the other? Where, and how, would all these characteristics have vanished, but for his art—but for the abiding spirit, ever present to preserve their vital warmth against the outer and earthly cold? The wisest of Valentine’s friends, who shook their heads disparagingly whenever his name was mentioned, were at least wise enough in their generation never to ask themselves such embarrassing questions as these.

Thus much for the history of the painter’s past life. We may now make his acquaintance in the appropriate atmosphere of his own Studio.

It was wintry weather—not such a November winter’s day as some of us may remember looking at fourteen years ago, in Baregrove Square, but a brisk frosty morning in January. The country view visible from the back windows of Mr. Blyth’s house, which stood on the extreme limit of the new suburb, was thinly and brightly dressed out for the sun’s morning levee, in its finest raiment of pure snow. The cold blue sky was cloudless; every sound out of doors fell on the ear with a hearty and jocund ring; all newly-lit fires burnt up brightly and willingly without coaxing; and the robin-redbreasts hopped about expectantly on balconies and windowsills, as if they only waited for an invitation to walk in and warm themselves, along with their larger fellow creatures, round the kindly hearth.

The Studio was a large and lofty room, lighted by a skylight, and running along the side of the house throughout its whole depth. Its walls were covered with plain brown paper, and its floor was only carpeted in the middle. The most prominent pieces of furniture were two large easels placed at either extremity of the room; each supporting a picture of considerable size, covered over for the present with a pair of sheets which looked woefully in want of washing. There was a painting-stand with quantities of shallow little drawers, some too full to open, others, again, too full to shut; there was a movable platform to put sitters on, covered with red cloth much disguised in dust; there was a small square table of new deal, and a large round table of dilapidated rosewood, both laden with sketch-books, portfolios, dog’s-eared sheets of drawing paper, tin pots, scattered brushes, palette-knives, rags variously defiled by paint and oil, pencils, chalks, port-crayons—the whole smelling powerfully at all points of turpentine.

Finally, there were chairs in plenty, no one of which, however, at all resembled the other. In one corner stood a moldy antique chair with a high back, and a basin of dirty water on the seat. By the side of the fireplace a cheap straw chair of the beehive pattern was tilted over against a dining-room chair, with a horse-hair cushion. Before the largest of the two pictures, and hard by a portable flight of steps, stood a rickety office-stool. On the platform for sitters a modern easy chair, with the cover in tatters, invited all models to picturesque repose. Close to the rosewood table was placed a rocking-chair, and between the legs of the deal table were huddled together a camp-stool and a hassock. In short, every remarkable variety of the illustrious family of Seats was represented in one corner or another of Mr. Blyth’s painting-room.

All the surplus small articles which shelves, tables, and chairs were unable to accommodate, reposed in comfortable confusion on the floor. One half at least of a pack of cards seemed to be scattered about in this way. A shirt-collar, three gloves, a boot, a shoe, and half a slipper; a silk stocking, and a pair of worsted muffetees; three old play-bills rolled into a ball; a pencil-case, a paper-knife, a tooth-powder-box without a lid, and a superannuated black-beetle trap turned bottom upwards, assisted in forming part of the heterogeneous collection of rubbish strewed about the studio floor. And worse than all—as tending to show that the painter absolutely enjoyed his own disorderly habits—Mr. Blyth had jocosely desecrated his art, by making it imitate litter where, in all conscience, there was real litter enough already. Just in the way of anybody entering the room, he had painted, on the bare floor, exact representations of a new quill pen and a very expensive-looking sable brush, lying all ready to be trodden upon by entering feet. Fresh visitors constantly attested the skillfulness of these imitations by involuntarily stooping to pick up the illusive pen and brush; Mr. Blyth always enjoying the discomfiture and astonishment of every new victim, as thoroughly as if the practical joke had been a perfectly new one on each successive occasion.