About My Father's Business. Archer Thomas

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СКАЧАТЬ doubly heart-sickening when so little time is to be counted on, in which something will be done before the houses themselves, crumbling to decay, become but a type of their own forlorn old age.

      It is with some such thoughts as these that I stand at the entrance to the green, with last year's weedy aftermath still dank and tangled with wind and rain. The queer little one-storied dark-red houses of the quadrangle bear a melancholy resemblance to a set of dilapidated and discarded toys, the box for which has been lost. They are built, too, on a kind of foreign-toy pattern, with queer outside staircases, leading to street-doors under a portico, which is the only entrance to the upper storey, the lower doors in the quadrangle communicating only with the ground-floor. The crunch of my footsteps along the moist path, gives no echo; the place seems to be too dull and lifeless even for that kind of response. The left wing and far the greater portion of the centre block are still with the silence of desertion. Peering through the dim leaden casements, I see only small, bare, empty rooms. There is a sense of mildew and of damp plaster peeling from the walls, – of leaky water-pipes, and a humid chill, which no glowing hearth nor bright July weather could utterly subdue. Such is the feeling with which the whole place strikes me on this leaden wintry day, when the vapour from the engine on the railway trails slowly upward to meet the ragged edge of the dun cloud that streams slowly downward; when a big, black dog crouches on the threshold of the village chandler's shop, to get out of the drizzle; and the butcher, who has sold out, closes his half-hatch, with the certainty that he may take his afternoon nap by the fire, undisturbed by customers.

      Even when I pause before one of the little narrow portals to which I have been directed, there are few more signs of life, except that at the same moment I hear other footsteps behind me, and a baker stop to deliver a loaf. This is promising, as far as it goes, and enables me to present myself unostentatiously, under cover of the baker's basket, to a lady who opens the door. Unless I am greatly mistaken, that lady has a French face, and as it is a French lady for whom I am to inquire, I begin to think I have come to the end of my quest. It is evident, however, from the surprised questioning look which greets my appearance, that visits from strangers are not of very frequent occurrence there. I can trace in the rather shrinking recognition accorded to my request to see the lady to whom I bring an introduction, the sensitiveness that belongs to that kind of poverty which has learned to endure in seclusion reverses that would be less bearable if they were exposed to a too obtrusive expression of sympathy. It is a positive relief to be left alone for a minute, standing in that narrow lobby, looking into a room which has the appearance of a disused scullery, while my errand is made known in another room on the right, to which I am presently bidden. It is a poor little place enough; poor, and little, and dim, even for an almshouse, and scarcely suggestive of comfort though a bright fire is burning in a grate, which somewhat resembles a reduced kitchen-range, and though the table which stands beneath the casement bears some preparations for the evening meal, and the cheap luxury of a cut orange on a plate. The walls are dim, the ceiling cracked and discoloured by the evident overflow of water in the room overhead; the furniture consists of a kind of couch which may do duty for a bed by night, and of two or three Windsor chairs, one of which has already been placed for me. It is a poor place enough; and yet the lady to whom I am at once introduced is ready to do its honours with a grace and dignity that well become her appearance and her name. Madame Gracieuse B – , for more than forty years resident in England, and speaking English with a purity of accent that is only rivalled by the more perfect music of the French in which she addresses me, has passed the threescore years and ten which are counted as old age. Yet seeing her sweet, calm face; her smooth, broad, intelligent brow; the mild, penetrating scrutiny of her gentle eyes; the soft hair put back under the quaint French cap, shaped like a hood; those years remain uncounted; until, with a pleasant smile, only just too placid for vivacity, she tells how she came to this country in 1830, after the ruin of the fortunes of her house by the revolution which dethroned Charles X., and made her a governess in England, where so many of the old nobility sought a refuge and a home.

      But before this is said, she has presented me to a third lady – to whom, indeed, my original introduction extended – already long past the limit of that short period which we call long life; for she is more than eighty years old, and by reason of the infirmity which has lately come upon her, does not rise to receive me, but remains seated in the couch by the fire. It is a very limited space in which to be ceremonious; but were this lady sitting in one of a suite of grand rooms in some aristocratic mansion, with all the surroundings to which her birth, her high connections, and the recollection of her own personal accomplishments entitle her, she might not lack the homage which too often only simulates respect.

      It is possible that she may long ago have learned to assess it at its true value, for she has seen it at a court where it could not save a king from banishment; and if we may judge from a face with strong determined lineaments, a brow of concentrated power, and eyes the light of which even the recent paralysis of age has not extinguished, she has been one who could undergo exile, poverty, and even the sadder calamity of being forgotten, with a wonderful endurance.

      Yes, Madame la Comtesse Maria de Comoléra, friend and fellow-student of that Madame Adelaide whose name has become historical, when your father was Monsieur l'Intendant of the Duc d'Orléans, and when you lived within the atmosphere of the French court, spending quiet days at the easel in your painting-room, or preparing the delicate pâte of Sèvres porcelain, on which to paint the roses and lilies that you loved, the grim visions of exile and poverty may never have troubled you. When the house of Bourbon crumbled, and you escaped from the ruin it had made, you had still your art left to solace, if not to gladden you; and for a time at least you lived by it, and took a new rank by the work that you could do. There were flowers in England, and your hands could still place their glowing hues on canvas. Witness those pictures of yours that now hang on the walls of the gallery of the Crystal Palace, or adorn some private collections. Witness, too, the recognition of some of our own painters when Sir Charles Eastlake was president of the Royal Academy, and when you found a friendly patron in Queen Adelaide of gentle memory. Alas, the hand has lost its cunning; and if its work is not altogether forgotten, those who look upon it are unaware that you are living here in this poor room – pensioner of a charity which, were it but supported as it might be, could better lighten your declining years. Yet I will not call you desolate, madame. Two faithful friends are with you yet. The sunset of your calm life, whereof the noon was broken by so terrible a storm, is dim enough; but it goes not down in complete darkness. Gentle and admiring regard survives even in this dull place; and with it the love that can bring tears to eyes not over ready to weep on account of selfish sorrows, and can move ready hands to tend you now that your own grow heavy and feeble.[2]

      As I become more accustomed to the subdued light of the room, I note that amidst the confusion of some old pieces of furniture or lumber there are pictures, unframed and dim, leaning against the walls. One of them – a large painting of some rare plant, formerly a curiosity in the Botanical Gardens at Regent's Park, while the rest are groups of flowers and fruit. Just opposite me, on the high mantel-piece, the canvas broken here and there near the edges, obscured by the dust and smoke that have dulled their surface, are two oil-paintings which I venture to take down for a nearer inspection. Surely they must have been finished when madame was yet in the prime of her art. Exquisite in drawing, delicate in colour, and with a subtle touch that gives to each petal the fresh crumple that bespeaks it newly-blown, and to fruit the dewy down that would make even a gourmet linger ere he pressed the juice. It is almost pain to think that they are left here uncared for; and yet, who knows what influence their presence above that dingy shelf may have upon the wandering thoughts and waning dreams of her who painted them when every new effort of her skill was a keen delight?

      Nay, even as I hold them to the light, and in a pause of our chat (wherein Madame la Comtesse speaks slowly and with some difficulty) say some half-involuntary words of appreciation, she has risen, and stands upright by the fire with an earnest look in her face and a sudden gesture of awakened interest. The artistic instinct is there still, after more than eighty years of life, and the appreciation of the work animates her yet. Not with a mere vulgar love of praise (for Madame is still la Comtesse Comoléra even though she spends her days СКАЧАТЬ