An Engagement of Convenience Part 3

Wyndham was amused. "You are really an original character," he exclaimed. "I like you."

Mr. Robinson smiled with gratification. "I more than return the compliment, I can a.s.sure you."

"But pray go on," said Wyndham. "I believe you're a wizard. I must get you to cast my horoscope."

Mr. Robinson raised his hands. "I don't think I could manage that," he laughed. "I am only a quiet observer of my fellow-men. In the present case it is very easy to see that yours is the face of a gentleman by birth. There is a certain composure in your whole style. Whatever you had to face, you would never have that appearance that men get in the City--of wearing themselves out."

"Better to wear out than to rust out," said Wyndham meditatively. "I rust out."

He was astonished at his own frankness. But there was a deep pleasure in being natural for once, in throwing off the cover of sham and pretence that had characterised his intercourse with his kind in the past. He did not even consider it was strange that the person he should be baring himself to so freely was one whose existence hitherto he had merely deigned to notice. But nothing could exceed Mr. Robinson's amazement at this last profession of his.

"Rust out!" The old man's eyes opened wide. "Why, you have done an immense amount of work!" He waved his hand significantly towards the army of canva.s.ses ranged against the walls.

Wyndham affected to be impressed by the consideration. "Yes," he admitted; "I have used up a considerable amount of material in my time, I must admit." He had suddenly perceived that Mr. Robinson was largely discounting his ingenuous frankness, and was really taking his profession of failure, which, as it happened, he had thrown out in an offhand way, as rather affectation than literal truth.

"And no doubt will be using up still larger amounts in the future." The old man smiled and rose. "But I am taking up your time!"

"No, indeed," Wyndham a.s.sured him. "I hope you have quite recovered now."

"Oh, quite," returned Mr. Robinson. "I had altogether forgotten the little accident in the pleasure of our conversation."

There was a pause. "I am sorry there's no light," said Wyndham; "else I should show you some of my work--that is, if you cared to see it."

The old man looked eager. "Couldn't you make the lamp do?" he exclaimed.

"I'm sure it would give me a very good idea of your pictures. But I am presuming on your kindness."

"Oh, no," protested Wyndham.

He began to move about the studio, conscious of a new energy. Somebody was here to appreciate him; somebody desired to see his work, was looking up to him in admiration! He felt strangely rejuvenated--it was as if he had taken a dose of some wonderful elixir. He selected half a dozen of the smaller pictures, and brought them forward. Then, as he wheeled the great easel into position, the whim took him to see how his huge "masterpiece" looked after all this long interval of time.

For, since he had stood it with its face to the wall on Lady Betty's wedding-day, he had never had the heart to glance at it again. Not merely failure and wasted years were a.s.sociated with it, but it stirred memories of the hours he had spent at Grosvenor Place in the first freshness of his hopes, when he had worked with the pa.s.sion of youth.

Then, too, there was the silent drama that had played itself out in the depths of his own spirit. Looking back, it seemed to him that no man could ever have cherished a more hopeless love, or have encountered a more inevitable one. Nor had the lapse of time softened the bitterness of that strange romantic chapter. Lady Betty's figure and personality would remain with him as his ideal of woman for the rest of his life; and he clung to the memory of his hurt as typical of his whole fortune.

But though the thought of the picture to-night inevitably stirred up some of these old emotions, there was joined to them a sudden overwhelming curiosity. What would be his impression at the first glance? Would all its deficiencies and crudities stand out in relief, and make him turn away from it in sickness and loathing? Or would it strike him, however unfinished it might be, as having yet promise in it, as justifying some at least of the time--nay, even life-blood--he had consecrated to it?

"What a huge thing!" e.j.a.c.u.l.a.t.ed Mr. Robinson, as Wyndham tilted it back from the wall.

"It _is_ tremendous," smiled Wyndham. "I'm afraid I shall have to ask you to give me a hand with it."

Together they carried it to the easel, and Wyndham hoisted it to its old place. "I don't know whether we shall be able to make head or tail of it," he said; "but I'll do what I can with the lamp. As you see, it's a powerful one."

"Of course I don't profess to be a connoisseur of oil paintings," Mr.

Robinson warned him. "But I know what I like, though I daresay you will think me extremely benighted."

"No, indeed," protested Wyndham; "I shall value your opinion highly." He worked away at the little wheel at the back of the easel as he inclined the canvas at the most favourable angle, whilst the old man watched the process fascinated.

The next moment Wyndham was holding the big lamp high in the air, and carefully illumining the surface of the picture. For a moment everything before his eyes was blurred, and he could see nothing at all; but he stood his ground firmly, and gripped the lamp heroically. And before the mist could clear he heard Mr. Robinson's voice rise in admiration.

"Wonderful!" exclaimed the old man, his tone vibrating with an immense conviction; and at that moment Wyndham received the picture full on his vision and felt at once he had there a basis that could be worked up into a splendid achievement.

"The crowd of strikers with their banner is the most life-like thing I've ever seen. Wonderful!" Mr. Robinson gazed and gazed, his interest overflowing into a running comment. "It's Hyde Park Corner! Why, of course--there's the Duke of Wellington's house, and there's Lord Rothschild's. Marvellous! What a variety of faces and characters! And the old fellow there in the corner--what powerful features full of despair! And the old woman with the red shawl--she hasn't had a morsel of food, poor creature, for twenty-four hours, I'll wager. Why don't you leave her alone, you old ruffian of a policeman! And then that fashionable lady in her brougham with her over-fed poodle--what contempt on her face for all these artizans! How real everything is--the perspective is grand! Why, you could take a walk out there in the distance! Marvellous! It doesn't need an art education to see that's a work of genius."

Wyndham stood listening in elation, though, in his own perception of the work just now, he felt as aloof from it as if it had sprung from another's labours. His brain seemed emanc.i.p.ated from the tangle of its old problems and all his old flounderings. And as Mr. Robinson continued his admiring e.j.a.c.u.l.a.t.i.o.ns, Wyndham put in now and again a word of explanation, drawing attention to a point here and there, though this was at first rather by way of soliloquy than conversation. But, presently, as he moved the lamp to and fro, up and down, he warmed to the occasion; even enlarging on his pet ideas, and pointing out where he had failed to realise his own scheme and formula. Mr. Robinson listened, wholly absorbed and fascinated by these new horizons that opened before him. His respect and worship for art was contagious: Wyndham began to worship it more himself.

And the younger man grew eloquent, expatiated on the old art and the new, on academies and masters, on realism and symbolism, on plein air and sunlight, on colour and technique. And as he spoke, he was enchanted with his own voice. It was splendid to feel himself speaking again after all this long suppression--he was realising the strength and infallibility of his own artistic convictions. Never before had he felt so sure of his conceptions; his former humility had only led to confusion and hesitation. In future, his own mind should dominate--he would not be blown about by all these conflicting schools and critics.

He was conscious of standing more vigorously upright; and, as he enlarged on the picture, he seemed to get a new and sure hold of it, seeing more and more the potentiality of a great and powerful structure that no Academy could dare refuse to recognise. He saw now that his long interval of hibernation had not been unfruitful. And it had made a necessary sharp division between the two parts of his life--the first, uncertain, stumbling, unsuccessful; the second, confident, mature, triumphant.

The picture before him was transformed. Problems that had baffled him seemed to solve themselves in a flash. Effects he had vainly sought through maddening months stood at once revealed, flowing naturally out of what he had already set down. His hand longed to be wielding the brush again.

"But if I may make the remark," interposed Mr. Robinson at length; "it seems matter for surprise that a gentleman like you should be attracted to the choice of such a subject. I should hardly suppose that you have ever come into any real contact with labour, and workmen on strike would therefore scarcely come within the sphere of your sympathy."

"The artist is of universal sympathy," said Wyndham gravely, and himself believed it. At that moment he felt his endless sympathy spreading itself out, embracing all creation. "And then it was not only the humanity of the scene that touched me, and inspired me to attempt to put it down finely and greatly; there was also the pure art part as it appealed to the trained vision--the splendid difficulties to be vanquished, the opportunities for draughtsmanship and subtle colour, the sense of far-stretching s.p.a.ce to be produced from only a narrow gamut of light and shade."

"Marvellous!" echoed Mr. Robinson again.

"But if I may make the remark in my turn," said Wyndham, "your sympathy with labour surprises me equally."

"Why so?" asked Mr. Robinson.

"The natural antagonism between capital and labour!" smiled Wyndham.

"Oh, I started as a poor boy--right at the foot of the ladder,"

explained Mr. Robinson. "My father was a carpenter. Wages were low in those days, and prices of all necessaries were high. I remember in my childhood we had a pretty hard time of it. In my own firm we share the profits with all the employees. So you see I'm rather partial to labour so long as it's decent and reasonable. When I think of my own struggles, I like to see every man get fair opportunities. When a man has no particular talent--such as myself, for instance--it is ever so much the harder to go through discouragements. But, at the worst of times, it must be a great thing for a gifted man like yourself to be conscious of his own powers."

"So you set up to have no particular talent!" explained Wyndham. "You amuse me. Haven't you made your fortune unaided? I confess that that seems to me the most difficult thing in the world--immensely cleverer than anything in the way of art or painting."

Mr. Robinson laughed. "Now you're making fun of me."

"I was never more serious in my life," insisted Wyndham, now wheeling forward a smaller easel, in order to display the pictures he had at first selected. "I consider it frightfully clever to make money."

"My dear sir, fools often make money," Mr. Robinson a.s.sured him.

Wyndham shook his head incredulously. "Do you care much about this landscape?" he asked.

"Very much indeed. It is so green and fresh and airy, and those are grand old trees."

"It's our old home in Hertfordshire. I lost the property and a modest fortune through a rascally set of lawyers."

Mr. Robinson's face expressed deep concern. "Yes, I remember the affair well," he said. "I remember reading it over the breakfast-table to my wife and daughter. We saw your name among the creditors. It was a bad business."

"They had managed all our family concerns for thirty years."

Wyndham was now wound up to enter into more personal matters than he had so far touched upon. As before, he was perfectly frank, recounting in the intimacy of the moment all the details of this financial catastrophe. He spoke freely of his relations in the country, and of his sister Mary, and the independent way in which she was earning her bread; pa.s.sing from canvas to canvas the while, and breaking off frequently to discuss the paintings.

At last they had gone through all the selection, but the unfailing appreciation of his visitor was so pleasant to the artist that he could not help bringing forward two or three more, and then finally another.

And still yet another after!--like the preacher's "one word more."

"I have pa.s.sed a very happy time here with you," the old man declared, as Wyndham restored the lamp to its usual place on the table. "You see I was right; the occasion was well worth the accident that brought it about."