We must now request our readers to draw on the seven-leagued boots of
their imaginations, and, thus accoutred, to stride remorselessly over
the space of two years. ’Tis soon done; a slight mental effort, an
agile hop, skip, and jump of the fancy, and the gulf is passed--time is
annihilated. Let us raise the curtain and mark the changes the destroyer
has wrought. The world goes round much the same as before; two
years make little difference in the personal appearance of the
fifty-eight-centuries-old planet--no lack of births, deaths, and
marriages to regulate the average supply of the human race; if the
cholera creates a deficiency one year, more poor curates marry, and
starving Irishmen take unto themselves wives, the next, and those
“beautiful” babies who contrive to turn out such very plain adults
multiply upon the face of the earth, and the thinned ranks are
replenished. And yet two years cause strange alterations when we dive
beneath the surface of society and become cognisant of the fortunes
of individuals: smiles have given place to tears, and the grief of the
mourner has turned to joy; poor men have grown rich and rich men poor,
and the bad (with but few, very few exceptions to prove the rule) have
become worse, and the good advanced in righteousness; and the mass of
the half-hearted, clinging yet more closely to this earth, of which they
are so enamoured, where their grave is awaiting them, see heaven afar
off, and wish feebly, and for a shorter time each seventh day, that they
were good enough to reach it. Thus the passenger train, with its cargo
of hopes, and fears, and wishes, speeds along the _Railroad of Life_.
In a magnificent apartment in one of those Arabian-night-like edifices,
a Venetian palazzo--which, having belonged to one of the great
historical families of the middle ages, whose chief was, by virtue of
his position, a petty sovereign, was now let for the season to a wealthy
Englishman--lounged Charley Leicester, whose own surprise at the change
of fortune which could render such a description of him appropriate had
not even yet ceased. On a sofa opposite sat his wife, on whose knee was
perched a very young gentleman, to whom we could scarcely sooner have
introduced our readers, for the excellent reason that he had not made
his appearance at the Cradle Terminus of our Railroad when last we
treated of his amiable parents. The present phase of this extremely
young aristocrat was, so to speak, one of ex-babyhood; he was in the
very act of ceasing to be “the most beautiful creature in the world,”
and as yet retained enough of his pristine loveliness to deserve the
epithet of a really pretty child. He exhibited in his proper person an
instance of that strange phenomenon which (why, we have either no idea,
or we hope, for the sake of morality, a _wrong_ one) always excites
such extreme astonishment in the minds of all nurses, maiden aunts,
and female acquaintance--he was decidedly like his own proper papa
and mamma. For the rest, when placed on the carpet he preferred a
quadrupedal to an erect method of progression--had a strange habit of
making the rashest experiments in gastronomy by putting everything
wrong and dangerous into his mouth--never sat still for two minutes
consecutively--would, in the same breath, laugh heartily and bewail
himself piteously, from exciting causes, which may be expected to remain
a mystery throughout all time, and confined his conversation to two
substantives and a colloquial hieroglyphic--viz., “Pap-pa,” “Mam-ma,”
and “gib-Tarley,” which last was believed to be an infantine-English
compound of his Christian name and the verb “to give,” and signified an
insatiable desire to render himself monarch of all he surveyed by a
process of general self-appropriation. At the moment in which we shall
introduce the reader to the party thus assembled, a servant entered
bearing a packet of letters on a silver waiter, and handing them to
Leicester, withdrew.
“Letters from England, by Jove!” exclaimed Charles, untying the string
which encircled them.
“Any for me, Charley?” inquired Laura, who in her position of wife and
mother looked the prettiest little matron conceivable.
“Two for me, and one for you, from Annie Grant, if I may judge by the
writing,” replied her husband, as he rose to hand it to her.
“Gib-Tarley, pap-pa! gib-Tarley,” vociferated that individual in the
prettiest of infantine trebles, making insane plunges at the letters.
Laura, raising her hand above the curly pate of her acquisitive
offspring, gained possession of the interesting missive, then, holding
“Tarley” out at arm’s length, she exclaimed--
“Here, take your boy, papa; he is in a troublesome humour, and I wish to
read my letter in peace.”
Leicester meekly obeyed, muttering as he did so, “Wide-awake young
woman--knows a thing or two, that mamma of yours, master Tarley;” then
taking the child on his knee, he continued, “Now Tarley means to be a
good boy, and sit quite still, because papa is going to be busy with the
affairs of the state.”
The effect of this exhortation appeared to be to excite, on the part
of the young gentleman to whom it was addressed, a sudden and violent
determination there and then to convert his father into an extempore
high-mettled racer, which equine transformation he strove to accomplish
by placing himself astride on the paternal knee, clutching a fragile
and delicate watch-chain by way of bridle, kicking the sides of his
fictitious Rosinante with immense juvenile vigour, and vociferating at
the top of his small voice, “Pap-pa, gee-gee! pap-pa, gee-gee!”
[Illustration: 0394]
Charley cast an appealing glance at his wife; she appeared hopelessly
immersed in her letter, so resigning himself to his fate, he murmured
faintly, “The thermometer stands at 750 in the shade, that’s all,” and
started at a brisk canter. The progress of the ride, however, served
to exhilarate both horse and jockey to such a degree, that ere long a
violent game at romps was established, which ended in papa’s perching
his youthful son on his shoulder, and still influenced by the equestrian
hypothesis, galloping round the room with him, and clearing the sofa
at a flying leap in the course of their rapid career, to Laura’s
undisguised terror.
“There, my dear Charles, that will do; you will break the child’s neck
and your own also to a certainty if you do such wild things. Now ring
for nurse to take him, I want to talk to you about this letter.”
“Tarley,” however, by no means approving of this arrangement, and
insisting strenuously upon a prolongation of his ride, his father, who
it must be confessed rather spoiled him than otherwise, complied with
his demand for “Gee-gee more!” by again dashing round the room with
him, and continuing his headlong course till he had deposited his rider
within the august precincts of the nursery, where the precocious Ducrow,
falling under the baleful glance of an autocratic nurse, subsided into a
state of infantine depression, and was heard no more.
Leicester, having returned to the apartment in which he had left his
wife, flung himself, in a state of apparent exhaustion, upon the sofa he
had lately jumped over, exclaiming, “That child will be the death of
me, I’m certain of it; where he can get all this dreadful energy of
character from I can’t conceive. It must come from the Peyton side, for
I’m certain that even at his early age I had a much more clearly defined
idea of the _dolce far niente_ than that unnatural little essence of
quicksilver possesses. By Jove, if he should turn out as fast when he
grows up as he appears now before he has begun growing at all, it will
be an awful look out for our grey hairs.”
“Nonsense, Charley, you’ve energy enough when you care to exert it; in
fact it is all your own doing, you know you delight to excite the child.
But now be sensible, and sit up and listen to me, for I really want to
consult you about this letter.”
“As to listening to you, my love, I’m only too happy to do so at all
times and seasons, and I’ll promise to be as sensible as is compatible
with my general mental capacity, but in regard to the sitting up, you
really must excuse me. I have a strong idea I sprained something in
jumping over this sofa just now, my back or my shin, I forget the
precise spot, but I can assure you it requires rest.”
“Oh, you idle man,” was the laughing answer, “how incorrigible you
are!” and as Laura pronounced this condemnation she seated herself on a
footstool by her husband’s side, drew out the letter, and handing it to
him, said, “They have consented to my plan, and are coming here in the
course of the next fortnight; but I do not like the tone of Annie’s
note, she must be much more really ill than I was at all aware of, and
there appears throughout a spirit of depression, which is completely
foreign to her nature--I cannot understand it.”
“I have a despatch from the General,” began Leicester, leisurely
breaking the seal; “perhaps that may tend to elucidate the mystery. What
a fist the old fellow writes! the letters all hold up their heads as
if they were a regiment of soldiers, and his signature bristles like a
stand of bayonets. Oh! he ‘hopes to be in Venice by Friday week, if his
daughter’s health, which has given him some little uneasiness
lately, should permit them to travel with the degree of swiftness and
punctuality which has appeared to him expedient in laying out their
intended route.’ I’m very sorry dear Annie is ill; what can be the
matter with her, think you?”
“Who is your other letter from?” inquired Laura, avoiding his last
question.
“From Bellefield,” returned Leicester, opening it; “he can’t come with
the Grants, but he’ll follow them before long. He has backed the Dodona
colt for the Derby, and has got a heavier book on the race than he
likes; he was hit hard at the last Newmarket meeting, and if anything
were to go wrong with the colt, and he not on the spot to hedge on the
first hint, the consequences might be more unpleasant than people in
general are aware of. Well! thank heaven, with all my follies, I always
contrived to keep clear of the betting-ring. I don’t like that note of
Belle’s; he’ll get into some awful scrape if he does not take care.”
“For which I shall not pity him one bit,” rejoined Laura. “Born to a
high position, gifted with a princely fortune; if he chooses to disgrace
the one, and squander the other by gambling with a set of blacklegs,
he deserves whatever he may meet with. I hope I have not pained you,
Charley dearest,” she continued, observing a slight shade of annoyance
on her husband’s good-humoured face; “but truth is truth; I cannot like
that man; I wish he were not your brother, and oh! how I wish he were
not to be the husband of our darling Annie. I say, Charley, how came
it you never fell in love with her yourself? Do you know--don’t
be conceited now--I think I was very lucky to get you under the
circumstances?”
A gay laughing answer rose to the lips of Charles Leicester, and then
the memory of the empty, heartless life he had led before his marriage,
and the deep, true happiness he had enjoyed since, came across him, and
drawing his wife towards him, he imprinted a kiss on her smooth forehead
as he replied, “If I am, indeed, worthy of your affection, darling, it
is you alone who have rendered me so, for before I knew you I was a mere
conceited, idle, frivolous butterfly, spoiled by the world, and with
just sense enough (like most spoilt children) to despise my spoiler,
without sufficient manliness of nature to free myself from its trammels
by any unassisted efforts of my own.”
What reply Laura made to this speech, if indeed she made any, we do not
feel ourselves called upon to chronicle; suffice it to say that she
did not, by word, look, or deed evince the smallest symptom of having
repented of her bargain. A pause ensued, which was broken by Leicester,
who exclaimed--
“By Jove! I was very nearly forgetting all about it--what’s o’clock?”
then drawing out a small enamelled watch, one of the relics of former
days of dandyism, he continued, “half-past three; there is just time. I
have procured an order to see the pictures Cardinal d’Ancona was telling
you about last week.”
“Oh, the two paintings from Lord Byron’s ‘Giaour,’ by the young artist
about whom no one knows anything, and who is said to be a genius? I’m so
glad; when shall we go?” inquired Laura.
“Why, it’s a case of Hobson’s choice,” returned Leicester; “for it seems
the painter was so tormented by idle people coming to his studio that he
has been forced to lay down a rule only to admit visitors on two days in
the week, from three till five; but the oddest part of the business
is that he chooses to be absent on these occasions, leaving an old
attendant to play cicerone--in fact, there appears to be some kind of
mystery about the man. However, to-day is _the_ day, so the sooner
we’re off the better, more especially as I must be with the Consul by
half-past four.”
“I shall be ready in less than five minutes,” rejoined Laura, “so let
us prosecute this wondrous adventure by all means--a mystery is such a
rarity in these matter-of-fact days, that even so small a one as that
of a man who prefers avoiding one’s notice instead of seeking to obtrude
himself upon it, is interesting.”
“When will women cease to be curious?” soliloquised Leicester,
elongating his body in order to reach a newspaper without the trouble of
rising. Another quarter of an hour saw them en route.
Under Leicester’s able guidance they stopped at the door of a small
house at the corner of a street turning out of the square of St. Mark’s.
On presenting the order an old man with grey hair came forward and
ushered the visitors into a room lighted by a skylight, beneath which
were arranged various pictures, some finished, others in a less forward
state of preparation. After examining several of the smaller sketches,
which displayed unusual talent, both Leicester and his wife paused with
one accord before a large painting. The old cicerone approached them,
“That is the picture,” he said in Italian, “about which every one is
talking; it is very grand, but the companion picture is finer: the
Signore has refused 600 guineas for the pair. They are taken from your
Lord Byron’s poem, the ‘Giaour’; here is the passage, _ecco lo!_” As he
spoke he pointed to the following stanzas--
“With sabre shiver’d to the hilt,
Yet dripping with the blood he spilt;
Yet strain’d within the sever’d hand
Which quivers round that faithless brand;
His turban far behind him roll’d,
And cleft in twain its firmest fold;
His flowing robe by falchion torn,
And crimson as those clouds of morn
That, streak’d with dusky red, portend
The day shall have a stormy end;
A stain on every bush that bore
A fragment of his palampore,
His breast with wounds unnumber’d riv’n,
His back to earth, his face to heaven,
Fall’n Hassan lies--his unclosed eye
Yet lowering on his enemy,
As if the hour that seal’d his fate
Surviving left his quenchless hate;
And o’er him bends that foe with brow
As dark as his that bled below.”
The artist had indeed well represented the fearful tragedy; the
principal light in the painting fell upon the figure, and especially the
face of the prostrate Hassan, which convulsed by the death agony, yet
glanced with an expression of “quenchless hate” upon his destroyer. The
features of the Giaour, owing to the position in which he stood, with
one foot planted on the breast of his fallen enemy, were not visible,
but his figure was tall and commanding, and his attitude in the highest
degree expressive of triumphant power. Leaning against the same easel
stood the companion picture--it contained but a single figure, but it
was one which being seen, it was scarcely possible to forget, such a
living embodiment did it present of hopeless despair. The stony eye, the
sunken cheek, the stern yet spiritless mouth--all spoke of one who
had indeed “nothing left to love or hate,” all realised the painful
description of “the vacant bosom’s wilderness,” that paralysis of the
soul in which
“The keenest pangs the wretched find
Are rapture to the dreary void,
The leafless desert of the mind.”
In this painting also the features of the Giaour were partially
concealed by the hood of a monk’s frock, which threw a deep shade across
them, and the drooping, nerveless figure served in great degree to tell
the tale. The two pictures were entitled “Revenge, and its Fruits.”
Laura and her husband gazed at them long and silently; at length
Leicester observed, with the air of a man who tries to dissipate a
sentiment akin to superstitious fear, by listening to the sound of
his own voice--“’Pon my word, they are very extraordinary pictures;
there’s I don’t know what about them--a kind of uncomfortable
fascination--they’re very horrible, but they’re very clever, eh?”
“Oh! they are most wonderful,” returned Laura in a subdued voice, as if
she almost feared to trust herself to speak, “particularly the second.
I never saw anything express such utter hopelessness as that face and
attitude; one feels that active pain even would be a relief to the
monotony of that dull despair. What an uncommon person the artist must
be! The execution is good, but it is the mind in the pictures that is so
extraordinary.”
Leicester, who during this speech had been attentively examining the
face of the prostrate Hassan, suddenly exclaimed, “Yes! of course, now
I see who it is. Look here, Laura, do you perceive a likeness to anybody
you know in the face of this floored individual?”
Thus accosted, Laura, after a moment’s scrutiny, replied, “It is like
your brother.”
“Just what struck me,” returned Leicester; “what a quaint coincidence!
I’ve seen some one somewhere of whom the other fellow reminds me too.”
“The figure bears a shadowy resemblance to the Signore Luigi himself,
Eccellenza,” observed the old attendant; “at least, I have always
thought so.”
“He must be rather an alarming, sanguinary kind of personage, at that
rate; he has not flattered himself, I must say.”
“The Signore is tall and dark, but handsome as the Belvidere Apollo--he
is not sanguinary as you say, Signore, but of a gentle kindness which
touches the heart. I am bound to love him, for he saved me from ruin.”
“How was that? tell me,” asked Laura in a tone of interest.
“My dear Laura, I am grieved to prevent your hearing this worthy man’s
recital, but unfortunately it only wants five minutes of the time at
which I promised to be with the Consul.”
“How long shall you be obliged to stay with him?” inquired his wife.
“Less than half-an-hour, perhaps twenty-five minutes would suffice,”
was the reply; “shall I leave you here and come back for you before five
o’clock?”
“There are several pictures the Signora has not yet examined,” suggested
the old man. Thus urged, Laura consented to remain; an idea which she
would not confess even to her husband, so wild and fanciful did she feel
it to be, had taken possession of her, and her curiosity in regard to
the mysterious artist had become redoubled.