When Laurie left the Hydrographic in company with his friend Slasher, he had still a hope of being able to present himself for a few moments in the Square to report how he had sped. But his companion, as it turned out, had no such idea. The Hydrographic held its meetings in the artists’ quarter,—in that region which, but for art, no man of fashion would think of visiting. But being in it, for once in a way, Slasher, who considered himself a man of fashion, had made up his mind to make the best of it. He went with Laurie to his rooms, talking all the way of Suffolk’s pictures. That the critic had been shaken by the sight of them, there could be no doubt. He had been moved by the admiration of so many men who knew better than he did. The mere fact that the painter had been invited to make such an exhibition showed that he was becoming known to his own profession, and had been owned by it. There was light, and space, and leisure to look at the pictures. There was the comfortable sensation,—in Slasher’s case,—of a good dinner and pleasant company, and just such an{v.2-21} amount of deference to himself as soothed and glorified his self-esteem. He insisted on going with Laurie to finish the evening, letting his tongue loose as they walked along. ‘There is something in it, I don’t deny,’ he said. ‘The contrast between that fair group of children and the dark Romans is very well done, and the monk’s figure is full of expression. Let us see what you have yourself, Laurie. I, for one, am more interested in that. Welby is such a friend of yours, he might have found a place for something of your own to-night. It is not a bad room for showing a picture,—and all sorts of men go to the Hydrographic. It would be as good a thing as you could do to make Welby exhibit you there next time he has a chance. Yes, I don’t deny there’s a good deal that’s fine about that picture. The light is very well managed. It sets one thinking of Rome, you know, and how the air all smiles and glows about you on a spring morning. It’s not a bad picture. Is this where you live? It is not so nice as Kensington Gore.’
‘No,’ said Laurie, ‘it’s not so nice; but it’s better for work;’ and he ushered his companion into his room, where the contents of his portfolios, which he had carried off for Suffolk’s sketches, lay about, all mingled with books and studies in oil and a great deal of litter. The big canvas, thrust back into a corner, a pale shadow of what might have been, presided over the confusion. It was not so nice as Kensington Gore; but to Slasher, who liked to feel himself a man{v.2-22} of fashion and superior to professional persons, the disorder of the place was not disagreeable. Laurie Renton had once been ‘a cut above him,’ and it was not unpleasant to feel that Laurie Renton was now in circumstances to appeal to his patronage. They sat down together over the fire, and lighted their cigars; and what with the smoke, and what with the liquids that accompanied it, and the witching hour of night which makes men confidential, and the old associations, Slasher’s lips were opened, and he unfolded to Laurie many particulars of his life. ‘You would not think it, but I began the world in much such a place as this,’ said the critic. Laurie, of course, knew all about the manner in which his companion had begun the world; for everybody does know all about everybody else, especially in respect to those circumstances of which everybody else is the least proud. The listener in this case had the embarrassing privilege of contrasting autobiography with history, which is always a curious process. But, notwithstanding this difficulty, Laurie was, as always, a good listener,—not from policy, which seldom deceives any one, but because he preserved that tender politeness of the heart and regard for other people’s feelings which make it impossible for a man to contradict, or doubt, or sneer at his neighbour. ‘I suppose he thinks it all happened so,’ Laurie said to himself; and Slasher was grateful to him for the good faith,—a little puzzled certainly, but genuine,—with which he listened. In{v.2-23} the breaks of his story he would get up and saunter about the room, turning over Laurie’s sketches, and now and then he would interject some remark upon the special subject of the evening.
‘Some of those studies of your friend’s were fine,’ he said, suddenly. ‘I hope they’ll do him justice next year at the Academy. I’ll speak to Sir Peter, if you like; and if the picture he is doing now is as good as the one we saw to-night——’
‘One bird in the hand is worth two in the bush,’ said Laurie, oracularly. ‘And half a loaf is better than no bread.’
‘Hang it, what can a fellow do?’ cried Slasher. ‘You are the most pertinacious little beggar I ever came across. Do you think a man can go and eat his own words and stultify himself? Look here, I’ll tell you what I’ll do. You shall write a notice of the Hydrographic for the “Sword.” Blow the fellow’s trumpet up to the skies, if you like; say there’s never been anything like him since Titian. And I’ll take it to Crowther. Now I don’t see what more a man can do.’
‘I write the notice for the “Sword!”’ cried Laurie, laughing,—‘that is a little too strong. I never put a sentence together in my life.’
‘As if that had anything to do with it!’ said the critic. ‘Why that’s the only good thing I can see in this blessed trade of literature. You can go at it off-hand. Put a sentence together! Why I’ve heard{v.2-24} you put twenty. It’s nothing but talking, my dear fellow. A practical writer like myself, you know, goes off at the nail, and talks of fifty other subjects before he touches the right one; but I can fancy that the public, by way of a change, might prefer to hear what you wanted to say at once. Of course you can do it; and I’ll take it to Crowther. A man cannot make a fairer offer than that.’
‘It is awfully good of you,’ said Laurie, in a ferment. The proposal went tingling through his veins like wine. It had seemed supremely ridiculous to him when old Welby had suggested that he should take to writing, just as he might have suggested shoe-making or carpentry. But from Slasher, to whom the doors of the ‘Sword’ were open,—and in Suffolk’s interest,—the idea changed its aspect. Though there are no labourers of any description who so systematically underrate their trade as do professors of literature, yet it is astonishing how pleased every outsider is who is invited to enter that magic circle. Laurie felt that Slasher in his turn had paid him the most delicate compliment. Though he might have laughed at the ‘Sword’ and the critic, and at newspapers and critics in general, at another moment, no sooner was he asked to strike in, in the mêlée, than the craft and all its adjuncts became splendid to Laurie. What a power it was! How a word in the ‘Sword’ thrilled through and through those regions where artists congregated, filling some with boundless{v.2-25} satisfaction and others with despair! When he cried out, in modest delight and surprise, ‘I write a notice for the “Sword!”’ thinking it too grand to be true, he already felt himself ever so much more important, so much cleverer and greater a person than he had been five minutes before. Perhaps, it is true, the smoke and the beverage that accompanied it, and the fact that it was two o’clock in the morning, had something to do with Laurie’s pleasure in the proposal, as it had with Mr. Slasher’s liberality in making it;—but still there it was. Laurie Renton, whom everybody had snubbed, down to Forrester,—whom everybody had interfered with and advised and ordered about ‘for his good,’—might now become, all at once, an authority before whom they would tremble in their turn,—who would dispense justice, or favour, or vengeance, from his high-placed seat. It was when he looked at it from this point of view, and not out of any disinterested love of literature, that he jumped at the idea. Laurie leaned over the fire with his eyes glowing, and revelled in the wonderful thought. He was a little particular about his drawings in most cases, preferring to show them himself, and give what elucidation he saw necessary; but this time he permitted Slasher to make his own investigations undisturbed. All he had hoped for in his most sanguine moments had been to extract from the critic some grudging word of praise which should rouse public curiosity about Suffolk’s picture. But to have the organ in{v.2-26} his own hands, to say what he would,—to secure in his own person that art should be spoken of with understanding, commended without fear or favour, condemned with impartiality,—this was something beyond his highest hopes. Such a critic as he himself would be was the thing of all others wanted in the world of art. How often had the painters round him,—how often had he himself,—asked each other if such a thing were possible? And here was the possibility placed within his reach,—thrust, as it were, into his own hands!
Suffolk had gone home hours before, calling at the Square for his wife. He gave the ladies the very scantiest account of what had happened, but suffered the particulars to be drawn out of him, bit by bit, as he walked home through the dimly-lighted streets. Though he was too proud to make any demonstration of satisfaction before Mrs. Severn, yet his wife read in the eyes, whose expression she knew so well, that for once in his life the sense of general approbation had warmed him. ‘It is all Laurie Renton’s doing,’ she said, in the candour of delight, with a generosity which was not so easy to her husband. Suffolk himself had never made any appeal to Laurie, and did not see it in the same light.
‘I don’t think Laurie Renton has so much in his power,’ he said, ‘though he has taken a great deal of trouble. It was Welby’s affair chiefly, of course; and then, after all, a man who has been labouring a{v.2-27} dozen years surely does not need to be grateful to anybody if he gets a bit of recognition on his own merits at last.’
‘Of course it is on your own merits, Reginald,’ said his wife; but the woman was more grateful than the man. She knew very well that it was not her husband’s merits,—which, indeed, had met with but little recognition hitherto,—but that wistful word she had once spoken to Laurie, and his soft heart which had not forgotten it. Suffolk went on, quite unconscious of her thoughts and of her interference, to set down poor Laurie at his just value.
‘Renton was there with a friend of his,’ he continued;—‘Slasher, Helen,—that confounded snob who has the impudence to give us all our deserts in the “Sword,”—as shallow an ape as you ever saw. Laurie’s a very good fellow, but he’s too general in his friendships. After feeling really obliged to him for his handiness, to see him arm in arm with a conceited ass like that——’
‘Did you speak to him?’ cried Mrs. Suffolk. ‘What did he look like? Reginald, of course it is natural that you should be affronted; but if you consider how much influence the “Sword” has——’
‘Oh, I was civil; don’t be frightened,’ said Suffolk. ‘Deadly civil we both were; and he had something complimentary to say, like the rest. Trust those fellows to see which way the wind’s blowing. But what disgusts one is to find Laurie Renton,—a{v.2-28} fellow one likes,—hand in glove with a snob like that.’
‘He does not mean it, Reginald, I am sure,’ said Mrs. Suffolk, driven to her wits’ end, and feeling at once disposed to assault her husband for his stupidity, and to cry over poor Laurie, thus cruelly belied.
‘Oh, no, he doesn’t mean it,’ said the painter; ‘it’s only that confounded friendliness of his that likes to please everybody. If he had more stamina and less good nature——’ said his critic, severely.
But he never knew how near his wife was to shaking him as she clung to his arm. And Mrs. Suffolk said no more on the subject,—reflecting, first, that when a man takes a ridiculous idea into his head, it is of no use reasoning with him; and, secondly, that Laurie should never know how little gratitude had attended his efforts. That at least she would take into her own hands. If Reginald did not know what his friend had done for him, she at least did. And so did the padrona; and the chances were that their thanks would be more congenial to Laurie than any gruff acknowledgments that might be made from another quarter. Thus the pair walked on, excited by the faint prospect of better days, through the glimmering, silent streets, when most people were in bed—the husband making his report in snatches, the wife drawing it forth bit after bit, and piecing the fragments together with an art familiar to women. She knew about as well what had passed as he did{v.2-29} by the time they reached their own narrow, dingy door. And after one peep at the children, sleeping up on the fourth floor at the top of the house, Mrs. Suffolk joined her husband in his studio,—where he had gone to smoke his final pipe,—and drew forth further his bits from him, and added her words of assent or advice to the deliberations he fell into, standing with a candle in his hand before his half-finished picture. ‘Please God, you shall have your comforts like the rest, if this comes to anything, my good little wife,’ he said at last. ‘Oh, Reginald, it is for you I wish it most,’ she cried, with tears in her pretty eyes. That gleam of a possible brightening in their lot went to their hearts. Ah, hard, happy, chequered life!—so hard to bear while it is present, so sweet to look back upon when it is past!
But everything was hushed and asleep in the house of the Suffolks when Laurie shook hands with the critic, and stood at his door in the raw, chilly air of the winter morning to see him go. Laurie had not been keeping late hours for some time past, and the excitement had roused him out of all inclination for sleep. He went back to his fire and pushed away the impedimenta from his table, and with his nerves all thrilling, and his brain in a feverish commotion, began to write. Perhaps the soda-water had affected him slightly too—and the hours of talk, and the novelty of what he had in hand, had undoubtedly affected him. He sat till his fire burned out and his{v.2-30} lamp ran down, making his first essay at composition. It seemed to him very easy in his excitement. ‘If this is all they make so much fuss about!’ he said, feeling himself not only capable of the ‘Sword,’ but of greater things. The street was beginning to wake to the first sounds of the morning when he threw himself on his bed, chilled and exhausted, yet full of content. Surely, after all, this rapid art, which could be caught up without any study, and the effect of which was immediate, was more to the purpose than the labour of months upon one piece of canvas, which might affect nobody, not even the Hanging Committee. New prospects seemed opening before him also,............