THORPE, JUN.'
A third note is required before the palette can be scraped clean. Mr. Blyth reads the contents rather gravely on this occasion; rapidly plastering his last morsels of waste paint upon the paper as he goes on, until at length it looks as if it had been well peppered with all the colors of the rainbow.
Zack's third letter of complaint certainly promised serious domestic tribulation for the ruling power at Baregrove Square:—
'Dear Blyth,—I have given in—at least for the present. I told my father about my wanting to be an artist, and about your saying that I had a good notion of drawing, and an eye for a likeness; but I might just as well have talked to one of your easels. He means to make a man of business of me. And here I have been, for the last three weeks, at a Tea Broker's office in the city, in consequence. They all say it's a good opening for me, and talk about the respectability of commercial pursuits. I don't want to be respectable, and I hate commercial pursuits. What is the good of forcing me into a merchant's office, when I can't say my Multiplication table? Ask my mother about that:
'Oh, dear me! oh, dear! dear me!' says Valentine, mournfully rubbing his palette clean with a bit of rag. 'What will it all end in, I wonder. Old Thorpe's going just the way, with his obstinate severity, to drive Zack to something desperate. Coming here to-morrow, he says?' continues Mr. Blyth, approaching the smallest of the two pictures, placed on easels at opposite extremities of the room. 'Coming to-morrow! He never dates his notes; but I suppose, as this one came last night, to-morrow means to-day.'
Saying these words with eyes absently fixed on his picture, Valentine withdraws the sheet stretched over the canvas, and discloses a Classical Landscape of his own composition.
If Mr. Blyth had done nothing else in producing the picture which now confronted him, he had at least achieved one great end of all Classic Art, by reminding nobody of anything simple, familiar, or pleasing to them in nature. In the foreground of his composition, were the three lanky ruined columns, the dancing Bacchantes, the musing philosopher, the mahogany-colored vegetation, and the bosky and branchless trees, with which we have all been familiar, from our youth upwards, in 'classical compositions.' Down the middle of the scene ran that wonderful river, which is always rippling with the same regular waves; and always bearing onward the same capsizable galleys, with the same vermilion and blue revelers striking lyres on the deck. On the bank where there was most room for it, appeared our old, old friend, the architectural City, which nobody could possibly live in; and which is composed of nothing but temples, towers, monuments, flights of steps, and bewildering rows of pillars. In the distance, our favorite blue mountains were as blue and as peaky as ever, on Valentine's canvas; and our generally-approved pale yellow sun was still disfigured by the same attack of aerial jaundice, from which he has suffered ever since classical compositions first forbade him to take refuge from the sight behind a friendly cloud.
After standing before his picture in affectionate contemplation of its beauties for a minute or so, Valentine resumes the business of preparing his palette.
As the bee comes and goes irregularly from flower to flower; as the butterfly flutters in a zig-zag course from one sunny place on the garden wall to another—or, as an old woman runs from wrong omnibus to wrong omnibus, at the Elephant and Castle, before she can discover the right one; as a countryman blunders up one street, and down another, before he can find the way to his place of destination in London—so does Mr. Blyth now come and go, flutter, run, and blunder in a mighty hurry about his studio, in search of missing colors which ought to be in his painting-box, but which are not to be found there. While he is still hunting through the room, his legs come into collision with a large drawing-board on which there is a blank sheet of paper stretched. This board seems to remind Mr. Blyth of some duty connected with it. He places it against two chairs, in a good light; then approaching a shelf on which some plaster-casts are arranged, takes down from it a bust of the Venus de Medici—which bust he next places on his old office stool, opposite to the two chairs and the drawing-board. Just as these preparations are completed, the door of the studio opens, and a very important member of the painter's household—who has not yet been introduced to the reader, and who is in no way related either to Valentine or his wife—enters the room.
This mysterious resident under Mr. Blyth's roof is a Young Lady.
She is dressed in very pretty, simple, Quaker-like attire. Her gown is of a light-gray color, covered by a neat little black apron in front, and fastened round the throat over a frill collar. The sleeves of this dress are worn tight to the arm, and are terminated at the wrists by quaint-looking cuffs of antique lace, the only ornamental morsels of costume which she has on. It is impossible to describe how deliciously soft, bright, fresh, pure, and delicate, this young lady is, merely as an object to look at, contrasted with the dingy disorder of the studio-sphere through which she now moves. The keenest observers, beholding her as she at present appears, would detect nothing in her face or figure, her manner or her costume, in the slightest degree suggestive of impenetrable mystery, or incurable misfortune. And yet, she happens to be the only person in Mr. Blyth's household at whom prying glances are directed, whenever she walks out; whose very existence is referred to by the painter's neighbors with an invariable accompaniment of shrugs, sighs, and lamenting looks; and whose 'case' is always compassionately designated as 'a sad one,' whenever it is brought forward, in the course of conversation, at dinner-tables and tea-tables in the new suburb.
Socially, we may be all easily divided into two classes in this world—at least in the civilized part of it. If we are not the people whom others talk about, then we are sure to be the people who talk about others. The young lady who had just entered Mr. Blyth's painting-room, belonged to the former order of human beings.
She seemed fated to be used as a constant subject of conversation by her fellow-creatures. Even her face alone—simply as a face—could not escape perpetual discussion; and that, too, among Valentine's friends, who all knew her well, and loved her dearly. It was the oddest thing in the world, but no one of them could ever agree with another (except on a certain point, to be presently mentioned) as to which of her personal attractions ought to be first selected for approval, or quoted as particularly asserting her claims to the admiration of all worshippers of beauty.
To take three or four instances of this. There was Mr. Gimble, the civil little picture-dealers and a very good friend in every way to Valentine: there was Mr. Gimble, who declared that her principal charm was in her complexion—her fair, clear, wonderful complexion—which he would defy any artist alive to paint, let him try ever so hard, or be ever so great a man. Then came the Dowager Countess of Brambledown, the frolicsome old aristocrat, who was generally believed to be 'a little cracked;' who haunted Mr. Blyth's studio, after having once given him an order to paint her rare China tea-service, and her favorite muff, in one group; and who differed entirely from the little picture-dealer. 'Fiddle-de-dee!' cried her ladyship, scornfully, on hearing Mr. Gimble's opinion quoted one day. 'The man may know something about pictures, but he is an idiot about women. Her complexions indeed! I could make as good a complexion for myself (we old women are painters too, in our way, Blyth). Don't tell me about her complexion—it's her eyes! her incomparable blue eyes, which would have driven the young men of
