Lavengro George Borrow (free ebook reader for ipad TXT) 📖

use of some more Greek words, and told them how painting was one of the Nine Muses, and one of the most independent creatures alive, inspiring whom she pleased, and asking leave of nobody; that I should be quite unworthy of the favours of the Muse if, on the present occasion, I did not recommend them a man whom I considered to be a much greater master of the heroic than myself; and that, with regard to the money being spent in the city, I had no doubt that they would not weigh for a moment such a consideration against the chance of getting a true heroic picture for the city. I never talked so well in my life, and said so many flattering things to the hunchback and his friends, that at last they said that I should have my own way; and that if I pleased to go up to London, and bring down the painter of Lazarus to paint the mayor, I might; so they then bade me farewell, and I have come up to London.

“To put a hundred pounds into the hands of⁠—”

“A better man than myself,” said my brother, “of course.”

“And have you come up at your own expense?”

“Yes,” said my brother, “I have come up at my own expense.”

I made no answer, but looked in my brother’s face. We then returned to the former subjects of conversation, talking of the dead, my mother, and the dog.

After some time my brother said: “I will now go to the painter, and communicate to him the business which has brought me to town; and, if you please, I will take you with me and introduce you to him.”148 Having expressed my willingness, we descended into the street.

XXXVIII

The painter of the heroic resided a great way off, at the western end of the town. We had some difficulty in obtaining admission to him, a maidservant, who opened the door, eyeing us somewhat suspiciously; it was not until my brother had said that he was a friend of the painter that we were permitted to pass the threshold. At length we were shown into the studio, where we found the painter, with an easel and brush, standing before a huge piece of canvas, on which he had lately commenced painting a heroic picture. The painter might be about thirty-five years old; he had a clever, intelligent countenance, with a sharp grey eye; his hair was dark brown, and cut à la Rafael, as I was subsequently told, that is, there was little before and much behind; he did not wear a neckcloth, but, in its stead, a black riband, so that his neck, which was rather fine, was somewhat exposed; he had a broad, muscular breast, and I make no doubt that he would have been a very fine figure, but unfortunately his legs and thighs were somewhat short. He recognised my brother, and appeared glad to see him.

“What brings you to London?” said he.

Whereupon my brother gave him a brief account of his commission. At the mention of the hundred pounds, I observed the eyes of the painter glisten. “Really,” said he, when my brother had concluded, “it was very kind to think of me. I am not very fond of painting portraits; but a mayor is a mayor, and there is something grand in that idea of the Norman arch.149 I’ll go; moreover, I am just at this moment confoundedly in need of money, and when you knocked at the door, I don’t mind telling you, I thought it was some dun. I don’t know how it is, but in the capital they have no taste for the heroic, they will scarce look at a heroic picture; I am glad to hear that they have better taste in the provinces. I’ll go; when shall we set off?”

Thereupon it was arranged between the painter and my brother that they should depart the next day but one; they then began to talk of art. “I’ll stick to the heroic,” said the painter; “I now and then dabble in the comic, but what I do gives me no pleasure, the comic is so low; there is nothing like the heroic. I am engaged here on a heroic picture,” said he, pointing to the canvas; “the subject is ‘Pharaoh dismissing Moses from Egypt,’ after the last plague⁠—the death of the firstborn; it is not far advanced⁠—that finished figure is Moses:” they both looked at the canvas, and I, standing behind, took a modest peep. The picture, as the painter said, was not far advanced, the Pharaoh was merely in outline; my eye was, of course, attracted by the finished figure, or rather what the painter had called the finished figure; but, as I gazed upon it, it appeared to me that there was something defective⁠—something unsatisfactory in the figure. I concluded, however, that the painter, notwithstanding what he had said, had omitted to give it the finishing touch. “I intend this to be my best picture,” said the painter; “what I want now is a face for Pharaoh; I have long been meditating on a face for Pharaoh.” Here, chancing to cast his eye upon my countenance, of whom he had scarcely taken any manner of notice, he remained with his mouth open for some time. “Who is this?” said he at last. “Oh, this is my brother, I forgot to introduce him⁠—”

We presently afterwards departed; my brother talked much about the painter. “He is a noble fellow,” said my brother; “but, like many other noble fellows, has a great many enemies; he is hated by his brethren of the brush⁠—all the land and waterscape painters hate him⁠—but, above all, the race of portrait painters, who are ten times more numerous than the other two sorts, detest him for his heroic tendencies. It will be a kind of triumph to the last, I fear, when they hear he