“Madam—From respect to your recent affliction I have keptsilence for some months—a silence which, you will allow,was more than could have been expected from me. Perhaps Ishould not break it now, save for the claim of a wife andmother, who are suffering, and must suffer, from the resultsof an act which sprung from my own folly and another'scruel—— But no; I will not apply harsh words towards onewho is now no more.“Are you aware, madam, that your late husband, not two daysbefore his death, when in all human probability he must haveknown himself to be a ruined man, accepted from meassistance in a matter of business, which the enclosedcorrespondence between my solicitor and yours will explain?This act of mine, done for the sake of an ancient friendshipsubsisting between my mother and Captain Rothesay, hasrendered me liable for a debt so heavy, that in paying it myincome is impoverished, and must continue to be so foryears.“Your husband gave me no security: I desired none.Therefore I have no legal claim for requital for this greatand bitter sacrifice, which makes me daily curse my ownfolly in having trusted living man. But I ask of you, madam,who, secured from the effects of Captain Rothesay'sinsolvency, have, I understand, been left in comfort, if notaffluence—I ask, is it right, in honour and in honesty,that I, a clergyman with a small stipend, should suffer thepenalty of a deed wherein, with all charity to the dead, Icannot but think I was grievously injured?“Awaiting your answer, I remain, madam, your very obedient,“Harold Gwynne.”
“Harold Gwynne!” Olive, repeating the name to herself, let the letter fall on the ground. Well was it that she stood hidden from sight by the “great picture,” so that her mother could not know the pang which came over her.
The mystery, then, was solved. Now she knew why in his last agony her dying father had written the name of “Harold”—her poor father, who was here accused, by implication at least, of a wilful act of dishonesty! She regarded the letter with a sense of abhorrence—so coldly cruel it seemed to her, whose tenderness for a father's memory naturally a little belied her judgment. And the heartless charge was brought by the husband of Sara Derwent! There was bitterness in every association connected with the name of Harold Gwynne.
“Well, dear, the letter!” said Mrs. Rothesay, as they passed from the studio to their own apartment.
“It brings news that will grieve you. But never mind, mamma, darling: we will bear all our troubles together.” And as briefly and as tenderly as she could she explained the letter—together with the fact hitherto unknown to Mrs. Rothesay, that her husband in his last moments had evidently wished to acknowledge the debt.
Well Olive knew the effect this would produce on her mother's mind. Tears, angry exclamations, and bitter repinings; but the daughter soothed them all.
“Now, dear mamma,” she whispered, when Mrs. Rothesay was a little composed, “we must answer the letter at once. What shall we say!”
“Nothing! That cruel man deserves no reply at all.”
“Mamma!” cried Olive, somewhat reproachfully. “Whatever he may be, we are evidently his debtors. Even Mr. Wyld admits this, you see. We must not forget justice and honour—my poor fathers honour.”
“No—no! You are right, my child. Let us do anything, if it is for the sake of his dear memory,” sobbed the widow, whose love death had sanctified, and endowed with an added tenderness. “But, Olive, you must write—I cannot!”
Olive assented. She had long taken upon herself all similar duties. At once she sat down to pen this formidable letter. It took her some time; for there was a constant struggle between the necessary formality of a business letter, and the impulse of wounded feeling, natural to her dead father's child. The finished epistle was a curious mingling of both.
“Shall I read it aloud, mamma? and then the subject will be taken from your mind,” said Olive, as she came and stood by her mother's chair.
Mrs. Rothesay assented.
“Well, then, here it begins—'Reverend Sir' (I ought to address him thus, you know, because he is a clergyman, though he does seem so harsh, and so unlike what a Christian pastor ought to be).”
“He does, indeed, my child—but, go on.” And Olive read:
“'Reverend Sir—I address you by my mother's desire, to saythat she was quite unaware of your claim upon my late dearfather. She can only reply to it, by requesting yourpatience for a little time, until she is able to liquidatethe debt—not out of the wealth you attribute to her, butout of her present restricted means. And I, my father's onlychild, wishing to preserve his memory from the imputationsyou have cast upon it, must tell you, that his last momentswere spent in endeavouring to write your name. We neverunderstood why, until now. Oh, sir! was it right or kindof you so harshly to judge the dead? My fatherintendedtopay you. If you have suffered, it was through hismisfortune—not his crime. Have a little patience with us,and your claim shall be wholly discharged.“'Olive Rothesay.'”
“You have said nothing of Sara. I wonder if she knows this!” said the mother, as Olive folded up her letter.
“Hush, mamma! Let me forget everything that was once. Perhaps, too, she is not to blame. I knew Charles Geddes; Sara might not like to speak of me to her husband?”
Yet, with a look of bitter pain, Olive wrote the address of her letter—“Harbury Parsonage”—Sara's home! She lingered, too, over the name of Sara's husband.
“Harold Gwynne!Oh, mamma! how different names look! I cannot bear the sight of this! I hate it.”
Years after, Olive remembered these words.
If the old painter of Woodford Cottage was an ascetic and a misanthrope never was the “milk of human kindness” so redundant in any human heart as in that of his excellent little sister, Miss Meliora Vanbrugh. From the day of her birth, when her indigent father's anticipation of a bequeathed fortune had caused her rather eccentric Christian name, Miss Meliora began a chase after the wayward sprite Prosperity. She had hunted it during her whole lifetime, and never caught anything but its departing shadow. She had never grown rich, though she was always hoping to do so. She had never married, for no one had ever asked her. Whether she had loved—but that was another question. She had probably quite forgotten the days of her youth; at all events, she never talked about them now.
But though to herself her name had been a mockery, to others it was not so. Wherever she went, she always brought “better things”—at least in anticipation. She was the most hopeful little body in the world, and carried with her a score of consolatory proverbs, about “long lanes” that had most fortunate “turnings,” and “cloudy mornings” that were sure to change into “very fine days.” She had always in her heart a garden full of small budding blessings; and though they never burst into flowers, she kept on ever expecting they would do so, and was therefore quite satisfied. Poor Miss Meliora! if her hopes never blossomed, she also never had the grief of watching them die.
Her whole life had been pervaded by one grand desire—to see her brother president of the Royal Academy. When she was a school-girl and he a student, she had secretly sketched his likeness—the only one extant of his ugly, yet soul-lighted face—and had prefixed thereto his name, with the magic letters, “P. B. A.” She felt sure the prophecy would be fulfilled one day, and then she would show him the portrait, and let her humble, sisterly love go down to posterity on the hem of his robe of fame.
Meliora told all this to her favourite, Olive Rothesay, one day when they were busying themselves in gardening—an occupation wherein their tastes agreed, and which contributed no little to the affection and confidence that was gradually springing up between them.
“It is a great thing to be an artist,” said Olive, musingly.
“Nothing like it in the whole world, my dear. Think of all the stories of little peasant-boys who have thus risen to be the companions of kings, whereby the kings were the parties most honoured. Remember the stories of Francis I. and Titian, of Henry VII. and Hans Holbein, of Vandyck and Charles I.!”
“You seem quite learned in Art, Miss Vanbrugh. I wish you would impart to me a little of your knowledge.''
“To be sure I will, my dear,” said the proud, delighted little woman. “You see, when I was a girl, I 'read up' on Art, that I might be able to talk to Michael. Somehow, he never did care to talk with me; but perhaps he may yet.”.
Olive's mind seemed wandering from the conversation, and from her employment, too; for the mignonette-bed she was weeding lost quite as many flowers as weeds. At last she said—
“Miss Meliora, do people ever growrichas artists?”
“Michael has not done so,” answered her friend (at which Olive began to blush for what seemed a thoughtless question). “But Michael has peculiar notions. However, I feel sure he will be a rich man yet—like Sir Joshua Reynolds, and Sir Thomas Lawrence, and many more.”
Olive began to muse again. Then she said timidly, “I wonder why, with all your love for Art, you yourself did not become an artist?”
“Bless you, my dear, I should never think of such a thing. I have no genius at all for anything—Michael always said so. I an artist!—a poor little woman like me!”
“Yet some women have been painters.”
“Oh, yes, plenty. There was Angelica Kauffman, and Properzia Rossi, and Elizabetta Sirani. In our day, there is Mrs. A—— and Miss B——, and the two C——s. And if you read about the old Italian masters, you will find that many of them had wives, or daughters, or sisters, who helped them a great deal. I wish I had been such an one! Depend upon it, my dear girl,” said Meliora, waxing quite oracular in her enthusiasm, “there is no profession in the world that brings fame, and riches, and happiness, like that of an artist.”
Olive only half believed in the innocent optimism of her companion. Still Miss Vanbrugh's words impressed themselves strongly on her mind, wherein was now a chaos of anxious thought. From the day when Mr. Gwynne's letter came, she had positively writhed under the burden of this heavy debt, which it would take years to discharge, unless a great deduction were made from their slender income. And how could she propose that—how bear to see her delicate and often-ailing mother deprived of the small luxuries which had become necessary comforts? To their letter no answer had come—the creditor was then a patient one; but this thought the more stimulated Olive to defray the debt. Night and day it weighed her down; plan after plan she formed, chiefly in secret, for the mention of this painful circumstance was more than her mother could bear. Among other schemes, the thought of entering on that last resource of helpless womanhood, the dreary life of a daily governess; but her desultory education, she well knew, unfitted her for the duty; and no sooner did she venture to propose the plan, than Mrs. Rothesay's lamentations and entreaties rendered it impracticable.
But Miss Vanbrugh's conversation now awakened a new scheme, by which in time she might be able to redeem her father's memory, and to save her mother from any sacrifice entailed by this debt. And so—though this confession may somewhat lessen the romance of her character—it was from no yearning after fame, no genius-led ambition, but from the mere desire of earning money, that Olive Rothesay first conceived the thought of becoming an artist.
Very faint it was at first—so faint that she did not even breathe it to her mother. But it stimulated her to labour incessantly at her drawing; silently to try and gain information from Miss Meliora; to haunt the painter's studio, until she had become familiar with many of its mysteries. She had crept into Vanbrugh's good graces, and he made her useful in a thousand ways.
But labouring secretly and without encouragement, Olive found her progress in drawing—she did not venture to call these humble effortsArt—very slow indeed. One day, when Mrs. Rothesay was gone out, Meliora came in to have a chat with her young favourite, and found poor Olive sitting by herself, quietly crying. There was lying beside her an unfinished sketch, which she hastily hid, before Miss Vanbrugh could notice what had been her occupation.
“My dear, what is the matter with you—no serious trouble, I hope?” cried the painter's little sister, who always melted into anxious compassion at the sight of anybody's tears. But Olive's only flowed the faster—she being in truth extremely miserable. For this day her mother had sorrowfully alluded to Mr. Gwynne's claim, and had begun to propose many little personal sacrifices on her own part, which grieved her affectionate daughter to the heart.
Meliora made vain efforts at comforting, and then, as a last resource, she went and fetched two little kittens and laid them on Olive's lap by way of consolation; for her own delight and solace was in her household menagerie, from which she was ever evolving great future blessings. She had always either a cat so beautiful, that when sent to Edwin Landseer, it would certainly produce a revolution in the subjects of his animal-pictures—or else a terrier so bewitching, that she intended to present it to her then girlish, dog-loving Majesty, thereby causing a shower of prosperity to fall upon the household of Vanbrugh.
Olive dried her tears, and stroked the kittens—her propensity for such pets was not her lightest merit in Meliora's eyes. Then she suffered herself to be tenderly soothed into acknowledging that she was very unhappy.
“I'll not ask you why, my dear, because Michael used to tell me I had far too much of feminine curiosity. I only meant, could I comfort you in any way?”
There was something so unobtrusive in her sympathy, that Olive felt inclined to open her heart to the gentle Meliora. “I can't tell you all,” said she, “I think it would be not quite right;” and, trembling and hesitating, as if even the confession indicated something of shame, she whispered her longing for that great comfort, money of her own earning.
“You, my dear, you want money!” cried Miss Meliora, who had always looked upon her new inmate, Mrs. Rothesay, as a sort of domestic gold-mine. But she had the delicacy not to press Olive further.
“I do. I can't tell you why, but it is for a good—a holy purpose—Oh, Miss Vanbrugh, if you could but show me any way of earning money for myself! Think for me—you, who know so much more of the world than I.”
—Which truth did not at all disprove the fact, that innocent little Meliora was a very child in worldly wisdom. She proved it by her next sentence, delivered oracularly after some minutes of hard cogitation. “My dear, there is but one way to gain wealth and prosperity. If you had but a taste for Art!”
Olive looked up eagerly. “Ah, that is what I have been brooding over this long time; until I was ashamed of myself and my own presumption.”
“Your presumption!”
“Yes; because I have sometimes thought my drawings were not so very, very bad; and I love Art so dearly, I would give anything in the world to be an artist!”
“You draw! You long to be an artist!” It was the only thing wanted to make Olive quite perfect in Meliora's eyes. She jumped up, and embraced her young favourite with the greatest enthusiasm. “I knew this was in you. All good people must have a love for Art. And you shall have your desire, for my brother shall teach you. I must go and tell him directly.”
But Olive resisted, for her poor little heart began to quake. What if her long-loved girlish dreams should be quenched at once—if Mr. Vanbrugh's stern dictum should be that she had no talent, and never could become an artist at all!
“Well, then, don't be frightened, my dear girl. Let me see your sketches. I do know a little about such things, though Michael thinks I don't,” said Miss Meliora.
And Olive, her cheeks tingling with that sensitive emotion which makes many a young artist, or poet, shrink in real agony, when the crude first-fruits of his genius are brought to light—Olive stood by, while the painter's kind little sister turned over a portfolio filled with a most heterogeneous mass of productions.
Their very oddity showed the spirit of Art that dictated them. There were no pretty, well-finished, young-ladyish sketches of tumble-down cottages, and trees whose species no botanist could ever define;—or smooth chalk heads, with very tiny mouths, and very crooked noses. Olive's productions were all as rough as rough could be; few even attaining to the dignity of drawing-paper. They were done on backs of letters, or any sort of scraps: and comprised numberless pen-and-ink portraits of the one beautiful face, dearest to the daughter's heart—rude studies, in charcoal, of natural objects—outlines, from memory, of pictures she had seen, among which Meliora's eye proudly discerned several of Mr. Vanbrugh's; while, scattered here and there, were original pencil designs, ludicrously voluminous, illustrating nearly every poet, living or dead.
Michael Vanbrugh's sister was not likely to be quite ignorant of Art. Indeed, she had quietly gathered up a tolerable critical knowledge of it. She went through the portfolio, making remarks here and there. At last she closed it; but with a look so beamingly encouraging, that Olive trembled for very joy.
“Let us go to Michael, let us go to Michael,” was all the happy little woman said. So they went.
Unluckily, Michael was not himself; he had been “pestered with a popinjay,” in the “shape of a would-be connoisseur, and he was trying to smooth his ruffled feathers, and compose himself again to solitude and “Alcestis.” His “well, what d'ye want?” was a sort of suppressed bellow, softening down a little at sight of Olive.
“Brother,” cried Miss Meliora, trying to gather up her crumbling enthusiasm into one courageous point—“Michael, I have found out a new genius! Look here, and say if Olive Rothesay will not make an artist!”
“Pshaw—a woman make an artist! Ridiculous!” was the answer. “Ha! don't come near my picture. The paint's wet Get away.”
And he stood, flourishing his mahl-stick and palette—looking very like a gigantic warrior guarding the shrine of Art with shield and spear.
His poor little sister, quite confounded, tried to pick up the drawings which had fallen on the floor, but he thundered out—“Let them alone!” and then politely desired Meliora to quit the room.
“Very well, brother—perhaps it will be better for you to look at the sketches another time. Come, my dear.”
“Stay, I want Miss Rothesay; no one else knows how to put on that purple chlamys properly, and I must work at drapery to-day. I am lit for nothing else, thanks to that puppy who is just gone; confound him! I beg your pardon, Miss Rothesay,” muttered the old painter, in a slight tone of concession, which encouraged Meliora to another gentle attack.
“Then, brother, since your day is spoiled, don't you think if you were to look”——
“I'll look at nothing; get away with you, and leave Miss Rothesay here—the only one of you womenkind who is fit to enter an artist's studio.”
Here Meliora slyly looked at Olive with an encouraging smile, and then, by no means despairing of her kind-hearted mission, she vanished.
Olive, humbled and disconsolate, prepared for her voluntary duty as Vanbrugh's lay-figure. If she had not so reverenced his genius, she certainly would not have altogether liked the man. But her hero-worship was so intense, and her womanly patience so all-forgiving, that she bore his occasional strange humours almost as meekly as Meliora herself. To-day, for the hundredth time she watched the painter's brow smooth, and his voice soften, as upon him grew the influence of his beautiful creation. “Alcestis,” calmly smiling from the canvas, shed balm into his vexed soul.
But beneath the purple chlamys poor little Olive still trembled and grieved. Not until her hope was thus crushed, did she know how near her heart it had been. She thought of Michael Vanbrugh's scornful rebuke, and bitter shame possessed her. She stood—patient model!—her fingers stiffening over the rich drapery, her eyes weariedly fixed on the one corner of the room, in the direction of which she was obliged to turn her head. The monotonous attitude contributed to plunge her mind into that dull despair which produces immobility—Michael Vanbrugh had never had so steady a model.
As Olive was placed, he could not see her face unless he moved. When he did so, he quite startled her out of a reverie by exclaiming—
“Exquisite! Stay just as you are. Don't change your expression. That's the very face I want for the Mother of Alcestis. A little older I must make it—but the look of passive misery, the depressed eyelids and mouth. Ah, beautiful—beautiful! Do, pray, let me have that expression again, just for three minutes!” cried the eager painter.
He accomplished his end; for Olive's features, from long habit, had had good practice in that line;—and she would willingly have fixed them into all Le Bran's Passions, if necessary for artistic purposes. Delighted at his success, Mr. Vanbrugh suddenly thought of his model, notasa model, but as a human being. He wondered what had produced the look which, now faithfully transferred to the canvas, completed “a bit” that had troubled him for weeks. He then thought of the drawings, and of his roughness concerning them. Usually he hated amateurs and their productions, but perhaps these might not be so bad. He would not condescend to lift them, but fidgeting with his mahl-stick, he stirred them about once or twice—accidentally as it seemed—until he had a very good notion of what they were. Then, after half-an-hour's silent painting, he thus addressed Olive.
“Miss Rothesay, what put it into your head that you wanted to be an artist?”
Olive answered nothing. She was ashamed to speak of her girlish aspirations, such as they had been; and she could not tell the other motive—the secret about Mr. Gwynne. Besides, Vanbrugh would have scorned the bare idea of her entering on the great career of Art for money! So she was silent.
He did not seem to mind it at all, but went on talking, as he sometimes did, in a sort of declamatory monologue.
“I am not such a fool as to say that genius is of either sex; but it is an acknowledged fact that no woman ever was a great painter, poet, or musician. Genius, the mighty one, scorns to exist in weak female nature; and even if it did, custom and education would certainly stunt its growth. Look here, child,”—and, to Olive's astonishment, he snatched up one of her drawings, and began lecturing thereupon—“here you have made a design of some originality. I hate your young lady copyists of landscapes and flowers, and Jullien's paltry heads. Come, let us see this epigraph, 'Laon's Vision of Cythna,'
Upon the mountain's dizzy brink she stood.
Good! Bold enough, too!”
And the painter settled himself into a long, silent examination of the sketch. Then he said—
“Well, this is tolerable; a woman standing on a rock, a man a little distance below looking at her—both drawn with decent correctness, only overlaid with drapery to hide ignorance of anatomy. A very respectable design. But, when one compares it with the poem!” And, in his deep, sonorous voice, he repeated the stanzas from the “Revolt of Islam.”
She stood alone.Above, the heavens were spread; below, the floodWas murmuring in its caves; the wind had blownHer hair apart, through which her eyes and forehead shone.A cloud was hanging o'er the western mountains;Before its blue and moveless depths were flyingGrey mists, poured forth from the unresting fountainsOf darkness in the north—the day was dying.Sudden the sun shone forth; its beams were lyingLike boiling gold on Ocean, strange to see;And on the shattered vapours which defyingThe power of light in vain, tossed restlesslyIn the red heaven, like wrecks in a tempestuous sea.It was a stream of living beams, whose bankOn either side by the cloud's cleft was made;And where its chasms that flood of glory drank,Its waves gushed forth like fire, and, as if swayedBy some mute tempest, rolled on her. The shadeOf her bright image floated on the riverOf liquid light, which then did end and fade.Her radiant shape upon its verge did shiverAloft, her flowing hair like strings of flames did quiver.
“There!” cried Vanbrugh, his countenance glowing with a fierce inspiration that made it grand through all its ugliness—“there! what woman could paintthat?—or rather, what man! Alas! how feeble we are—we, the boldest followers of an Art which is divine.—Truly there was but one among us who was himself above humanity, Michael the angel!”
He gazed reverently at the majestic head of Buonarotti, which loomed out from the shadowy corner of the studio.
Olive experienced—as she often did when brought into contact with this man's enthusiasm—a delight almost like terror; for it made her shudder and tremble as though within her own poor frame was that Pythian effluence, felt, not understood—the spirit of Genius.
Vanbrugh came back, and continued his painting, talking all the while.
“I said that it was impossible for a woman to become an artist—I mean agreatartist. Have you ever thought what that term implies? Not only a painter, but a poet; a man of learning, of reading, of observation. A gentleman—we artists have been the friends of kings. A man of stainless virtue, or how can he reach the pure ideal? A man of iron will, indomitable daring, and passions strong, yet kept always leashed in his hand. Last and greatest, a man who, feeling within him the divine spirit, with his whole soul worships God!”
Vanbrugh lifted off his velvet cap and reverently bared his head; then he continued:
“This is what an artist shouldbe, by nature. I have not spoken of what he has to make himself. Years of study incessant lie before him; no life of a carpet-knight, no easy play-work of scraping colours on canvas. Why, these hands of mine have wielded not only the pencil but the scalpel; these eyes have rested on scenes of horror, misery—crime, I glory in it; for it was all for Art. At times I have almost felt like Parrhasius of old, who exulted in his captive's dying throes, since upon them his hand of genius would confer immortality. But I beg your pardon—you are but a woman—a mere girl,” added Vanbrugh, seeing Olive shudder. Yet he had not been unmindful of the ardent enthusiasm which had dilated her whole frame while listening. It touched him like the memory of his own youth. Some likeness, too, there seemed between himself and this young creature to whom nature had been so niggardly. She might also be one of those who, shut out from human ties, are the more free to work the glorious work of genius.
After a few minutes of thought, Michael again burst forth.
“They who embrace Art must embrace her with heart and soul, as their one only bride. And she will be a loving bride to them—she will stand in the place of all other joy. Is it not triumph for him to whom fate has denied personal beauty, that his hand—his flesh and blood hand—has power ta create it? What cares he for worldly splendour, when in dreams he can summon up a fairy-land so gorgeous that in limning it even his own rainbow-dyed pencil fails? What need has he for home, to whom the wide world is full of treasures of study—for which life itself is too short? And what to him are earthly and domestic ties? For friendship, he exchanges the world's worship, whichmaybe his in life,mustbe, after death. For love”——
Here the old artist paused a moment, and there was something heavenly in the melody of his voice as he continued—
“For love—frail human love—the poison-flower of youth, which only lasts an hour, he has his own divine ideal It flits continually before him, sometimes all but clasped; it inspires his manhood with purity, and pours celestial passion into his age. His heart, though dead to all human ties, is not cold, but burning. For he worships the ideal of beauty, he loves the ideal of love.”
Olive listened, her mind reeling before these impetuous words.—One moment she looked at Vanbrugh where he stood, his age transfigured into youth, his ugliness into majesty, by the radiance of the immortal fire that dwelt within him. Then she dropped almost at his feet crying.
“I, too, am one of these outcasts; give me then this inner life which atones for all! Friend, counsel me—master, teach me! Woman as I am, I will dare all things—endure all things. Let me be an artist.”
Like all strongest hopes,By its own energy fulfilled itself.
She became an artist—not in a week, a month, a year—Art exacts of its votaries no less service than a lifetime. But in her girl's soul the right chord had been touched, which began to vibrate unto noble music—the true seed had been sown, which day by day grew into a goodly plant.
Vanbrugh had said truly, that genius is of no sex; and he had said likewise truly, that no woman can be an artist—that is, a great artist. The hierarchies of the soul's dominion belong only to man, and it is right they should. He it was whom God created first, let him take the preeminence. But among those stars of lesser glory, which are given to lighten the nations, among sweet-voiced poets, earnest prose writers, who, by the lofty truth that lies hid beneath legend and parable, purify the world, graceful painters and beautiful musicians, each brightening their generation—among these, let woman shine!
But her sphere is, and ever must be, bounded; because, however fine her genius may be, it always dwells in a woman's breast. Nature, which gave to man the dominion of the intellect, gave to her that of the heart and affections. These bind her with everlasting links from which she cannot free herself,—nay, she would not if she could. Herein man has the advantage. He, strong in his might of intellect, can make it his all in all, his life's sole aim and reward. A Brutus, for that ambition which is misnamed patriotism, can trample on all human ties. A Michael Angelo can stand alone with his work, and so go sternly down unto a desolate old age. But there scarcely ever lived the woman who would not rather sit meekly by her own hearth, with her husband at her side, and her children at her knee, than be the crowned Corinne of the Capitol.
Thus woman, seeking to strive with man, is made feebler by the very spirit of love which in her own sphere is her chiefest strength. But sometimes chance or circumstance or wrong, sealing up her woman's nature, converts her into a self-dependent human soul. Instead of life's sweetnesses, she has before her life's greatnesses. The struggle passed, her genius may lift itself upward, expand, and grow; though never to the stature of man's. Then, even while she walks with scarce-healed feet over the world's rough pathway, heaven's glory may rest upon her upturned brow, and she may become a light unto her generation.
Such a destiny lay open before Olive Rothesay.
She welcomed it as one who has girded himself with steadfast but mournful patience unto a long and weary journey, welcomes the faint ray that promises to guide him through the desolation. No more she uttered, as was her custom in melancholy moods, the bitter complaint, “Why was I born?” but she said to herself, “I will live so as to leave the world better when I die. Then I shall not have lived in vain.”
It was long before Michael Vanbrugh could thoroughly reconcile himself to the idea of a girl's becoming a painter. But by degrees he learned to view his young pupilasa pupil, and never thought of her sex at all. Under his guidance, Olive passed from the mere prettiness of most woman-painters to the grandeur of true Art. Strengthened by her almost masculine power of mind, she learned to comprehend and to reverence the mighty masters whom Vanbrugh loved. He led her to those heights and depths which are rarely opened to a woman's ken. And she, following, applied herself to the most abstruse of Art-studies. Still, as he had said, there were bounds that she could not pass; but as far as in her lay, she sought to lift herself above her sex's weakness and want of perseverance; and by labour from which most women would have shrunk, to make herself worthy of being ranked among those painters who are “not for an age, but for all time.”
That personal deformity which she thought excluded her from a woman's natural destiny, gave her freedom in her own. Brought into contact with the world, she scarcely felt like a young and timid girl, but as a being—isolated, yet strong in her isolation; who mingles, and must mingle among men, not as a woman, but as one who, like themselves, pursues her own calling, has her own aim; and can therefore step aside for no vain fear, nor sink beneath any foolish shame. And wherever she went, her own perfect innocence wrapped her round as with a shield.
Still, little quiet Olive could do many things with an independence that would have been impossible to a girl lively and beautiful Oftentimes Mrs. Rothesay trembled and murmured at days of solitary study in the British Museum, and in various picture-galleries; long lonely walks, sometimes in winter-time extending far into the dusk of evening. But Olive always answered, with a pensive smile,
“Nay, mother; I am quite safe everywhere. Remember, I am not like other girls. Who would noticeme?”
But she always accompanied any painful allusion of this kind by saying how happy she was in being so free, and how fortunate it seemed that there could be nothing to hinder her from following her heart's desire. She was growing as great an optimist as Miss Meliora herself, who—cheerful little soul—was in the seventh heaven of delight whenever she heard her brother acknowledge Olive's progress.
“And don't you see, my dear Miss Rothesay,” she said sometimes, “that everything always turns out for the best; and that if you had not been so unhappy, and I had not come in and found you crying, you might have gone on pining in secret, instead of growing up to be an artist.”
Olive assented, and confessed it was rather strange that out of her chiefest trouble should have arisen her chiefest joy.
“It almost seems,” said she to her mother, laughing, “as if that hard-hearted Mr. Harold Gwynne had held the threads of my destiny, and helped to make me an artist.”
“Don't let us talk about Mr. Gwynne; it is a disagreeable subject, my child,” was Mrs. Rothesay's answer.
Olive did not talk about him, but she thought the more. And—though had he known it, the pelf-despising Mr. Vanbrugh would never have forgiven such a desecration of Art—it was not her lightest spur in the attainment of excellence, to feel that as soon as her pictures were good enough to sell, she might earn money enough to discharge the claim of this harsh creditor, whose very name sent a pang to her heart.
Day by day, as her mind strengthened and her genius developed, Olive's existence seemed to brighten. Her domestic life was full of many dear ties, the chief of which was that devotion, less a sentiment than a passion, which she felt for her mother. Her intellectual fife grew more intense; while she felt the stay and solace of having a fixed pursuit to occupy her whole future. Also, it was good for her to live with the enthusiastic painter and his meek contented little sister; for she learnt thereby, that life might pass not merely in endurance, but in peace, without either of those blessings which in her early romance she deemed the chief of all—beauty and love. There was a greatness and happiness beyond them both.
The lesson was impressed more deeply by a little incident that chanced about this time.
Miss Vanbrugh sometimes took Olive with her on those little errands of charity which were not unfrequent with the gentle Meliora.
“I wish you would come with me to-day,” she said once, “because, to tell the truth, I hardly like to go alone.”
“Indeed!” said Olive, smiling, for the little old maid was as brave as a lion among these gloomiest of all gloomy lanes, familiar to her even in dark nights, and this was a sunny spring morning.
“I am not going to see an ordinary poor person, but that Quadroon woman—Mrs. Manners, who is one of my brother's models sometimes—you know her?”
“Scarcely; but I have seen her pass through the hall. Oh, she was a grand, beautiful woman, like an Eastern queen. You remember it was she from whom Mr. Vanbrugh painted the 'Cleopatra.' What an eye she had, and what a glorious mouth!” cried Olive, waxing enthusiastic.
“Poor thing! Her beauty is sadly wasting now,” said Meliora. “She seems to be slowly dying, and I shouldn't wonder if it were of sheer starvation; those models earn so little. Yesterday she fainted as she stood—Michael is so thoughtless. He had to call me to give her some wine, and then we sent the maid home with her. She lives in a poor place, Hannah says, but quite decent and respectable. I shall surely go and see the poor creature; but she looks such a desperate sort of woman, her eyes glare quite ferociously sometimes. She might be angry—so I had rather not be alone, if you will come, Miss Rothesay?”
Olive consented at once; there was in her a certain romance which, putting all sympathy aside, quite gloried in such an adventure.
They walked for a mile or two until they reached a miserable street by the river-side; but Miss Meliora had forgotten the number. They must have returned, their quest unsatisfied, had not Olive seen a little girl leaning out of an upper window,—her ragged elbows on the sill, her elf-like black eyes watching the boats up and down the Thames.
“I know that child,” Olive said; “it is the poor woman's. She left it in the hall one day at Woodford Cottage, and I noticed it from its black eyes and fair hair. I remember, too—for I asked—its singular and very pretty name,Christal.”
Talking thus, they mounted the rickety staircase, and inquired for Mrs. Manners. The door of the room was flung open from without, with a noise that would have broken any torpor less deep than that into which its wretched occupant had fallen.
“Ma mieis asleep; don't wake her or she'll scold,” said Christal jumping down from the window, and interposing between Miss Vanbrugh and the woman who was called Mrs. Manners.
She was indeed a very beautiful woman, though her beauty was on a grand scale. She had flung herself, half-dressed, upon what seemed a heap of straw, with a blanket thrown over. As she lay there, sleeping heavily, her arm tossed above her head, the large but perfect proportions of her form reminded Olive of the reclining figure in the group of the “Three Fates.”
But there was in the prematurely old and wasted face something that told of a wrecked life. Olive, prone to romance-weaving, wondered whether nature had in a mere freak invested an ordinary low-born woman with the form of the ancient queens of the world, or whether within that grand body lay ruined an equally grand soul.
Miss Meliora did not think about anything of the sort; but merely that her brother's dinner-hour was drawing near, and that if poor Mrs. Manners did not wake, they must go back without speaking to her.
But she did wake soon—and the paroxysm of anger which seized her on discovering that she had intruding guests, caused Olive to retire almost to the staircase. But brave little Miss Vanbrugh did not so easily give up her charitable purpose.
“Indeed, my good woman, I only meant to offer you sympathy, or any help you might need in your illness.”
The woman refused both. “I tell you we want for nothing.”
“Ma mie, I am so hungry!” said little Christal, in a tone between complaint and effrontery. “I will have something to eat.”
“You should not speak so rudely to your mother, little girl,” interposed Miss Meliora.
“My mother! No, indeed; she is onlyma mie. My mother was a rich lady, and my father a noble gentleman.”
“Hear her, Heaven! oh, hear her!” groaned the woman on the floor.
“But I lovema mievery much—that's when she's kind to me,” said Christal; “and as for my own father and mother, who cares for them, for, asma miesays, they were drowned together in the deep sea, years ago.”
“Ay, ay,” was the muttered answer, as Mrs. Manners clutched the child—a little, thin-limbed, cunning-eyed girl, of eight or ten years old—and pressed her to her breast, with a strain more like the gripe of a lioness than a tender woman's clasp.
Then she fell back exhausted, and took no more notice of anybody. Meliora forgot Mr. Vanbrugh's dinner, and all things else, in making a few charitable arrangements, which resulted in a comfortable tea for little Christal and “ma mie.”
Sleep had again overpowered the sick woman, who appeared to be slowly dying of that anomalous disease called decline, in which the mind is the chief agent of the body's decay. Meanwhile, Miss Vanbrugh talked in an undertone to little Christal, who, her hunger satisfied, stood, finger in mouth, watching the two ladies with her fierce black eyes—the very image of a half-tamed gipsy. Indeed, Miss Meliora seemed rather uneasy, and desirous to learn more of her companions, for she questioned the child closely.
“And is the person you callma mieany relation to you?”
“The neighbours say she is my aunt, from the likeness. I don't know.”
“And her name is Mrs. Manners—a widow, no doubt; for I remember she was in very respectable mourning when she first came to Woodford Cottage.”
“Poor young creature!” she continued, sitting down beside the object of her compassion, who was, or seemed, asleep. “How hard to loose her husband so soon! and I dare say she has gone through great poverty—sold one thing after another to keep her alive. Why, I declare,” added the simple and unworldly Meliora, who could make a story to fit anything, “poor soul! she has even been forced to part with her wedding-ring.”
“I never had one—I scorned it!” cried the woman, leaping up with a violence that quite confounded the painter's sister. “Do you come to insult me, you smooth-tongued English lady? Ah, you shrink away. What do you know about me?”
“I don't know anything about you, indeed,” said Meliora, creeping to the door; while Olive, who could not understand the cause of half she witnessed, stood simply looking on in wonder—almost in admiration,—for there was a strange beauty, like that of a Pythoness, in the woman's attitude and mien.
“You know nothing of me? Then you shall know. I come from a country where are thousands of young girls, whose mixed blood is too pure for slavery, too tainted for freedom. Lovely, accomplished, brought up delicately, they yet have no higher future than to be the white man's passing toy—cherished, wearied of, and spurned.”
She paused, and Miss Vanbrugh, astonished at this sudden outburst, in language so vehement, and so above her apparent rank, had not a word to say. The woman continued:
“I but fulfilled my destiny. How could such as I hope to bear an honest man's honest name? So, when my fate came upon me, I cast all shame to the winds, and lived out my life. I followed my lover across the seas; I clung to him, faithful in my degradation; and when his child slept on my bosom, I looked at it, and was almost happy. Now what think you of me, virtuous English ladies?” cried the outcast, as she tossed back her cloud of dark crisped hair, and fixed her eyes sternly, yet mockingly, upon her visitors.
Poor Miss Vanbrugh was conscious of but one thing, that this scene was most unfit for a young girl; and that if she once could get Olive away, all future visits to the miserable woman should be paid by herself alone.
“I will see you another day, Mrs. Manners, but we cannot really stay now. Come, my dear Miss Rothesay.”
And she and her|charge quitted the room. Apparently, their precipitate departure still further irritated the poor creature they had come to succour; for as they descended the stairs, they heard her repeatedly shriek out Olive's surname, in tones so wild, that whether it was meant for rage or entreaty they could not tell.
Olive wanted to return.
“No, my dear, she would only insult you. Besides, I willgomyself to-morrow. Poor wretch! she is plainly near her end. We must be merciful to the dying.”
Olive walked home thoughtfully, not speaking much. When they passed out of the squalid, noisy streets, into the quiet lane that led to Woodford Cottage, she had never felt so keenly the blessing of a pure and peaceful home. She mounted to the pretty bedchamber which she and her mother occupied, and stood at the open window, drinking in the fresh odour of the bursting leaves. Scarcely a breath stirred the soft spring evening—the sky was like one calm blue lake, and therein floated, close to the western verge, “the new moon's silver boat.”
She remembered how it had been one of her childish superstitions always “to wish at the new moon.” How often, her desire seeming perversely to lift itself towards things unattainable, had she framed one sole wish that she might be beautiful and beloved!
Beautiful and beloved! She thought of the poor creature whose fierce words yet rang in her ear. Beautiful and beloved!Shehad been both, and what was she now?
And Olive rejoiced that her own childish longings had passed into the better wisdom of subdued and patient womanhood. Had she now a wish, it was for that pure heart and lowly mind which are more precious than beauty; for that serene peace of virtue, which is more to be desired than love.
Now her fate seemed plain before her—within her home she saw the vista of a life of filial devotion blest in