HE led the way into the street as he spoke. I felt the irresistible
force of his logic. I sympathized with the ardent philanthropy of his
motives. I burned with a noble ambition to extend the sphere of the Old
Masters. In short, I took the tide at the flood, and followed Dick.
We plunged into some by-streets, struck off sharp into a court, and
entered a house by a back door. A little old gentleman in a black velvet
dressing-gown met us in the passage. Dick instantly presented me: “Mr.
Frank Softly--Mr. Ishmael Pickup.” The little old gentleman stared at
me distrustfully. I bowed to him with that inexorable politeness which
I first learned under the instructive fist of Gentleman Jones, and which
no force of adverse circumstances has ever availed to mitigate in after
life. Mr. Ishmael Pickup followed my lead. There is not the least need
to describe him--he was a Jew.
“Go into the front show-room, and look at the pictures, while I speak to
Mr. Pickup,” said Dick, familiarly throwing open a door, and pushing me
into a kind of gallery beyond. I found myself quite alone, surrounded by
modern-antique pictures of all schools and sizes, of all degrees of dirt
and dullness, with all the names of all the famous Old Masters, from
Titian to Teniers, inscribed on their frames. A “pearly little gem,” by
Claude, with a ticket marked “Sold” stuck into the frame, particularly
attracted my attention. It was Dick’s last ten-pound job; and it did
credit to the youthful master’s abilities as a workman-like maker of
Claudes.
I have been informed that, since the time of which I am writing, the
business of gentlemen of Mr. Pickup’s class has rather fallen off,
and that there are dealers in pictures, nowadays, who are as just and
honorable men as can be found in any profession or calling, anywhere
under the sun. This change, which I report with sincerity and reflect on
with amazement, is, as I suspect, mainly the result of certain wholesale
modern improvements in the position of contemporary Art, which
have necessitated improvements and alterations in the business of
picture-dealing.
In my time, the encouragers of modern painting were limited in number
to a few noblemen and gentlemen of ancient lineage, who, in matters of
taste, at least, never presumed to think for themselves. They either
inherited or bought a gallery more or less full of old pictures. It was
as much a part of their education to put their faith in these on hearsay
evidence, as to put their faith in King, Lords and Commons. It was an
article of their creed to believe that the dead painters were the great
men, and that the more the living painters imitated the dead, the better
was their chance of becoming at some future day, and in a minor degree,
great also. At certain times and seasons, these noblemen and gentlemen
self-distrustfully strayed into the painting-room of a modern artist,
self-distrustfully allowed themselves to be rather attracted by his
pictures, self-distrustfully bought one or two of them at prices which
would appear so incredibly low, in these days, that I really cannot
venture to quote them. The picture was sent home; the nobleman or
gentleman (almost always an amiable and a hospitable man) would ask the
artist to his house and introduce him to the distinguished individuals
who frequented it; but would never admit his picture, on terms of
equality, into the society even of the second-rate Old Masters. His work
was hung up in any out-of-the-way corner of the gallery that could be
found; it had been bought under protest; it was admitted by sufferance;
its freshness and brightness damaged it terribly by contrast with the
dirtiness and the dinginess of its elderly predecessors; and its only
points selected for praise were those in which it most nearly resembled
the peculiar mannerism of some Old Master, not those in which it
resembled the characteristics of the old mistress--Nature.
The unfortunate artist had no court of appeal that he could turn to.
Nobody beneath the nobleman, or the gentleman of ancient lineage, so
much as thought of buying a modern picture. Nobody dared to whisper that
the Art of painting had in anywise been improved or worthily enlarged in
its sphere by any modern professors. For one nobleman who was ready
to buy one genuine modern picture at a small price, there were twenty
noblemen ready to buy twenty more than doubtful old pictures at great
prices. The consequence was, that some of the most famous artists of
the English school, whose pictures are now bought at auction sales for
fabulous sums, were then hardly able to make an income. They were a
scrupulously patient and conscientious body of men, who would as soon
have thought of breaking into a house, or equalizing the distribution of
wealth, on the highway, by the simple machinery of a horse and pistol,
as of making Old Masters to order. They sat resignedly in their lonely
studios, surrounded by unsold pictures which have since been covered
again and again with gold and bank-notes by eager buyers at auctions
and show-rooms, whose money has gone into other than the painter’s
pockets---who have never dreamed that the painter had the smallest moral
right to a farthing of it. Year after year, these martyrs of the brush
stood, palette in hand, fighting the old battle of individual
merit against contemporary dullness--fighting bravely, patiently,
independently; and leaving to Mr. Pickup and his pupils a complete
monopoly of all the profit which could be extracted, in their line
of business, from the feebly-buttoned pocket of the patron, and the
inexhaustible credulity of the connoisseur.
Now all this is changed. Traders and makers of all kinds of commodities
have effected a revolution in the picture-world, never dreamed of by the
noblemen and gentlemen of ancient lineage, and consistently protested
against to this day by the very few of them who still remain alive.
The daring innovators started with the new notion of buying a picture
which they themselves could admire and appreciate, and for the
genuineness of which the artist was still living to vouch. These
rough and ready customers were not to be led by rules or frightened by
precedents; they were not to be easily imposed upon, for the article
they wanted was not to be easily counterfeited. Sturdily holding to
their own opinions, they thought incessant repetitions of Saints,
Martyrs, and Holy Families, monotonous and uninteresting--and said so.
They thought little pictures of ugly Dutch women scouring pots, and
drunken Dutchmen playing cards, dirty and dear at the price--and said
so. They saw that trees were green in nature, and brown in the Old
Masters, and they thought the latter color not an improvement on
the former--and said so. They wanted interesting subjects; variety,
resemblance to nature; genuineness of the article, and fresh paint;
they had no ancestors whose feelings, as founders of galleries, it was
necessary to consult; no critical gentlemen and writers of valuable
works to snub them when they were in spirits; nothing to lead them by
the nose but their own shrewdness, their own interests, and their own
tastes--so they turned their backs valiantly on the Old Masters, and
marched off in a body to the living men.
From that time good modern pictures have risen in the scale. Even as
articles of commerce and safe investments for money, they have now (as
some disinterested collectors who dine at certain annual dinners I know
of, can testify) distanced the old pictures in the race. The modern
painters who have survived the brunt of the battle, have lived to see
pictures for which they once asked hundreds, selling for thousands, and
the young generation making incomes by the brush in one year, which
it would have cost the old heroes of the easel ten to accumulate. The
posterity of Mr. Pickup still do a tolerable stroke of business (making
bright modern masters for the market which is glutted with the dingy old
material), and will, probably, continue to thrive and multiply in the
future: the one venerable institution of this world which we can safely
count upon as likely to last, being the institution of human folly.
Nevertheless, if a wise man of the reformed taste wants a modern
picture, there are places for him to go to now where he may be sure of
getting it genuine; where, if the artist is not alive to vouch for his
work, the facts at any rate have not had time to die which vouch for
the dealer who sells it. In my time matters were rather different. The
painters _we_ throve by had died long enough ago for pedigrees to get
confused, and identities disputable; and if I had been desirous of
really purchasing a genuine Old Master for myself--speaking as a
practical man--I don’t know where I should have gone to ask for one,
or whose judgment I could have safely relied on to guard me from being
cheated, before I bought it.
We are stopping a long time in the picture-gallery, you will say. I am
very sorry--but we must stay a little longer, for the sake of a living
picture, the gem of the collection.
I was still admiring Mr. Pickup’s Old Masters, when a dirty little boy
opened the door of the gallery, and introduced a young lady.
My heart--fancy my having a heart!--gave one great bound in me. I
recognized the charming person whom I had followed in the street.
Her veil was not down this time. All the beauty of her large, soft,
melancholy, brown eyes beamed on me. Her delicate complexion became
suddenly suffused with a lovely rosy flush. Her glorious black hair--no!
I will make an effort, I will suppress my ecstasies. Let me only say
that she evidently recognized me. Will you believe it?--I felt myself
coloring as I bowed to her. I never blushed before in my life. What a
very curious sensation it is!
The horrid boy claimed her attention with a grin.
“Master’s engaged,” he said. “Please to wait here.”
“I don’t wish to disturb Mr. Pickup,” she answered.
What a voice! No! I am drifting back into ecstasies: her voice was
worthy of her--I say no more.
“If you will be so kind as to show him this,” she proceeded; “he knows
what it is. And please say, my father is very ill and very anxious. It
will be quite enough if Mr. Pickup will only send me word by you--Yes or
No.”
She gave the boy an oblong slip of stamped paper. Evidently a promissory
note. An angel on earth, sent by an inhuman father, to ask a Jew for
discount! Monstrous!
The boy disappeared with the message.
I seized my opportunity of speaking to her. Don’t ask me what I said!
Never before (or since) have I talked such utter nonsense, with such
intense earnestness of purpose and such immeasurable depth of feeling.
Do pray remember what you said yourself, the first time you had the
chance of opening your heart to _your_ young lady. The boy returned
before I had half done, and gave her back the odious document.
“Mr. Pickup’s very sorry, miss. The answer is, No.”
She lost all her lovely color, and sighed, and turned away. As she
pulled down her veil, I saw the tears in her eyes. Did that piteous
spectacle partially deprive me of my senses? I actually entreated her to
let me be of some use--as if I had been an old friend, with money enough
in my pocket to discount the note myself. She brought me back to my
senses with the utmost gentleness.
“I am afraid you forget, sir, that we are strangers. Good-morning.”
I followed her to the door. I asked leave to call on her father, and
satisfy him about myself and my family connections. She only answered
that her father was too ill to see visitors. I went out with her on to
the landing. She turned on me sharply for the first time.
“You can see for yourself, sir, that I am in great distress. I appeal to
you, as a gentleman, to spare me.”
If you still doubt whether I was really in love, let the facts speak for
themselves. I hung my head, and let her go.
When I returned alone to the picture-gallery--when I remembered that I
had not even had the wit to improve my opportunity by discovering her
name and address--I did really and seriously ask myself if these were
the first symptoms of softening of the brain. I got up, and sat down
again. I, the most audacious man of my age in London, had behaved like a
bashful boy! Once more I had lost her--and this time, also, I had nobody
but myself to blame for it.
These melancholy meditations were interrupted by the appearance of
my friend, the artist, in the picture-gallery. He approached me
confidentially, and spoke in a mysterious whisper.
“Pickup is suspicious,” he said; “and I have had all the difficulty in
the world to pave your way smoothly for you at the outset. However,
if you can contrive to make a small Rembrandt, as a specimen, you may
consider yourself employed here until further notice. I am obliged to
particularize Rembrandt, because he is the only Old Master disengaged
at present. The professional gentleman who used to do him died the other
day in the Fleet--he had a turn for Rembrandts, and can’t be easily
replaced. Do you think you could step into his shoes? It’s a peculiar
gift, like an ear for music, or a turn for mathematics. Of course
you will be put up to the simple elementary rules, and will have the
professional gentleman’s last Rembrandt as a guide; the rest depends,
my dear friend, on your powers of imitation. Don’t be discouraged by
failures, but try again and again; and mind you are dirty and dark
enough. You have heard a great deal about the light and shade of
Rembrandt--Remember always that, in your case, light means dusky yellow,
and shade dense black; remember that, and--”
“No pay,” said the voice of Mr. Pickup behind me; “no pay, my dear,
unlesh your Rembrandt ish good enough to take me in--even me, Ishmael,
who dealsh in pictersh and knowsh what’sh what.”
What did I care about Rembrandt at that moment? I was thinking of my
lost young lady; and I should probably have taken no notice of Mr.
Pickup, if it had not occurred to me that the old wretch must know her
father’s name and address. I at once put the question. The Jew grinned,
and shook his grisly head. “Her father’sh in difficultiesh, and mum’s
the word, my dear.” To that answer he adhered, in spite of all that I
could say to him.
With equal obstinacy I determined, sooner or later, to get my
information.
I took service under Mr. Pickup, purposing to make myself essential to
his prosperity, in a commercial sense--and then to threaten him with
offering my services to a rival manufacturer of Old Masters, unless
he trusted me with the secret of the name and address. My plan looked
promising enough at the time. But, as some wise person has said, Man
is the sport of circumstances. Mr. Pickup and I parted company
unexpectedly, on compulsion. And, of all the people in the world, my
grandmother, Lady Malkinshaw, was the unconscious first cause of the
events which brought me and the beloved object together again, for the
third time!