The Bride of Lammermoor, Walter Scott [superbooks4u .txt] 📗

a pshaw, indicative of indignant contempt, and leading me into another room, showed me, resting against the wall, the majestic head of Sir William Wallace, grim as when severed from the trunk by the orders of the Edward.

The painting was executed on boards of a substantial thickness, and the top decorated with irons, for suspending the honoured effigy upon a signpost.

“There,” he said, “my friend, stands the honour of Scotland, and my shame; yet not so—rather the shame of those who, instead of encouraging art in its proper sphere, reduce it to these unbecoming and unworthy extremities.”

I endeavoured to smooth the ruffled feelings of my misused and indignant friend. I reminded him that he ought not, like the stag in the fable, to despise the quality which had extricated him from difficulties, in which his talents, as a portrait or landscape painter, had been found unavailing. Above all, I praised the execution, as well as conception, of his painting, and reminded him that, far from feeling dishonoured by so superb a specimen of his talents being exposed to the general view of the public, he ought rather to congratulate himself upon the augmentation of his celebrity to which its public exhibition must necessarily give rise.

“You are right, my friend—you are right,” replied poor Dick, his eye kindling with enthusiasm; “why should I shun the name of an—an—(he hesitated for a phrase)—an out-of-doors artist? Hogarth has introduced himself in that character in one of his best engravings; Domenichino, or somebody else, in ancient times, Morland in our own, have exercised their talents in this manner. And wherefore limit to the rich and higher classes alone the delight which the exhibition of works of art is calculated to inspire into all classes? Statues are placed in the open air, why should Painting be more niggardly in displaying her masterpieces than her sister Sculpture? And yet, my friend, we must part suddenly; the carpenter is coming in an hour to put up the—the emblem; and truly, with all my philosophy, and your consolatory encouragement to boot, I would rather wish to leave Gandercleugh before that operation commences.”

We partook of our genial host’s parting banquet, and I escorted Dick on his walk to Edinburgh. We parted about a mile from the village, just as we heard the distant cheer of the boys which accompanied the mounting of the new symbol of the Wallace Head. Dick Tinto mended his pace to get out of hearing, so little had either early practice or recent philosophy reconciled him to the character of a sign-painter.

In Edinburgh, Dick’s talents were discovered and appreciated, and he received dinners and hints from several distinguished judges of the fine arts. But these gentlemen dispensed their criticism more willingly than their cash, and Dick thought he needed cash more than criticism. He therefore sought London, the universal mart of talent, and where, as is usual in general marts of most descriptions, much more of each commodity is exposed to sale than can ever find purchasers.

Dick, who, in serious earnest, was supposed to have considerable natural talents for his profession, and whose vain and sanguine disposition never permitted him to doubt for a moment of ultimate success, threw himself headlong into the crowd which jostled and struggled for notice and preferment. He elbowed others, and was elbowed himself; and finally, by dint of intrepidity, fought his way into some notice, painted for the prize at the Institution, had pictures at the exhibition at Somerset House, and damned the hanging committee. But poor Dick was doomed to lose the field he fought so gallantly. In the fine arts, there is scarce an alternative betwixt distinguished success and absolute failure; and as Dick’s zeal and industry were unable to ensure the first, he fell into the distresses which, in his condition, were the natural consequences of the latter alternative. He was for a time patronised by one or two of those judicious persons who make a virtue of being singular, and of pitching their own opinions against those of the world in matters of taste and criticism. But they soon tired of poor Tinto, and laid him down as a load, upon the principle on which a spoilt child throws away its plaything. Misery, I fear, took him up, and accompanied him to a premature grave, to which he was carried from an obscure lodging in Swallow Street, where he had been dunned by his landlady within doors, and watched by bailiffs without, until death came to his relief. A corner of the Morning Post noticed his death, generously adding, that his manner displayed considerable genius, though his style was rather sketchy; and referred to an advertisement, which announced that Mr. Varnish, a well-known printseller, had still on hand a very few drawings and paintings by Richard Tinto, Esquire, which those of the nobility and gentry who might wish to complete their collections of modern art were invited to visit without delay. So ended Dick Tinto! a lamentable proof of the great truth, that in the fine arts mediocrity is not permitted, and that he who cannot ascend to the very top of the ladder will do well not to put his foot upon it at all.

The memory of Tinto is dear to me, from the recollection of the many conversations which we have had together, most of them turning upon my present task. He was delighted with my progress, and talked of an ornamented and illustrated edition, with heads, vignettes, and culs de lampe, all to be designed by his own patriotic and friendly pencil. He prevailed upon an old sergeant of invalids to sit to him in the character of Bothwell, the lifeguard’s-man of Charles the Second, and the bellman of Gandercleugh in that of David Deans. But while he thus proposed to unite his own powers with mine for the illustration of these narratives, he mixed many a dose of salutary criticism with the panegyrics which my composition was at times so fortunate as to call forth.

“Your characters,” he said, “my dear Pattieson, make too much use of the gob box; they patter too much (an elegant phraseology which Dick had learned while painting the scenes of an itinerant company of players); there is nothing in whole pages but mere chat and dialogue.”

“The ancient philosopher,” said I in reply, “was wont to say, ‘Speak, that I may know thee’; and how is it possible for an author to introduce his personæ dramatis to his readers in a more interesting and effectual manner than by the dialogue in which each is represented as supporting his own appropriate character?”

“It is a false conclusion,” said Tinto; “I hate it, Peter, as I hate an unfilled can. I grant you, indeed, that speech is a faculty of some value in the intercourse of human affairs, and I will not even insist on the doctrine of that Pythagorean toper, who was of opinion that over a bottle speaking spoiled conversation. But I will not allow that a professor of the fine arts has occasion to embody the idea of his scene in language, in order to impress upon the reader its reality and its effect. On the contrary, I will be judged by most of your readers, Peter, should these tales ever become public, whether you have not given us a page of talk for every single idea which two words might have communicated, while the posture, and manner, and incident, accurately drawn, and brought out by appropriate colouring, would have preserved all that was worthy of preservation, and saved these everlasting ‘said he’s’ and ‘said she’s,’ with which it has been your pleasure to encumber your pages.”

I replied, “That he confounded the operations of the pencil and the pen; that the serene and silent art, as painting has been called by one of our first living poets, necessarily appealed to the eye, because it had not the organs for addressing the ear; whereas poetry, or that species of composition which approached to it, lay under the necessity of doing absolutely the reverse, and addressed itself to the ear, for the purpose of exciting that interest which it could not attain through the medium of the eye.”

Dick was not a whit staggered by my argument, which he contended was founded on misrepresentation. “Description,” he said, “was to the author of a romance exactly what drawing and tinting were to a painter: words were his colours, and, if properly employed, they could not fail to place the scene which he wished to conjure up as effectually before the mind’s eye as the tablet or canvas presents it to the bodily organ. The same rules,” he contended, “applied to both, and an exuberance of dialogue, in the former case, was a verbose and laborious mode of composition which went to confound the proper art of fictitious narrative with that of the drama, a widely different species of composition, of which dialogue was the very essence, because all, excepting the language to be made use of, was presented to the eye by the dresses, and persons, and actions of the performers upon the stage. But as nothing,” said Dick, “can be more dull than a long narrative written upon the plan of a drama, so where you have approached most near to that species of composition, by indulging in prolonged scenes of mere conversation, the course of your story has become chill and constrained, and you have lost the power of arresting the attention and exciting the imagination, in which upon other occasions you may be considered as having succeeded tolerably well.”

I made my bow in requital of the compliment, which was probably thrown in by way of placebo, and expressed myself willing at least to make one trial of a more straightforward style of composition, in which my actors should do more, and say less, than in my former attempts of this kind. Dick gave me a patronising and approving nod, and observed that, finding me so docile, he would communicate, for the benefit of my muse, a subject which he had studied with a view to his own art.

“The story,” he said, “was, by tradition, affirmed to be truth, although, as upwards of a hundred years had passed away since the events took place, some doubts upon the accuracy of all the particulars might be reasonably entertained.”

When Dick Tinto had thus spoken, he rummaged his portfolio for the sketch from which he proposed one day to execute a picture of fourteen feet by eight. The sketch, which was cleverly executed, to use the appropriate phrase, represented an ancient hall, fitted up and furnished in what we now call the taste of Queen Elizabeth’s age. The light, admitted from the upper part of a high casement, fell upon a female figure of exquisite beauty, who, in an attitude of speechless terror, appeared to watch the issue of a debate betwixt two other persons. The one was a young man, in the Vandyke dress common to the time of Charles I., who, with an air of indignant pride, testified by the manner in which he raised his head and extended his arm, seemed to be urging a claim of right, rather than of favour, to a lady whose age, and some resemblance in their features, pointed her out as the mother of the younger female, and who appeared to listen with a mixture of displeasure and impatience.

Tinto produced his sketch with an air of mysterious triumph, and gazed on it as a fond parent looks upon a hopeful child, while he anticipates the future figure he is to make in the world, and the height to which he will raise the honour of his family. He held it at arm’s length from me—he held it closer—he placed it upon the top of a chest of drawers—closed the lower shutters of the casement, to adjust a downward and favourable light—fell back to the due distance, dragging me after him—shaded his face with his hand, as if to exclude all but the favourite object—and ended by spoiling a child’s copy-book, which he rolled up so as to serve for the darkened tube of an amateur. I fancy my expressions of enthusiasm had not been in proportion to his own, for he presently exclaimed with vehemence: “Mr. Pattieson, I used to think you had an eye in your head.”

I vindicated my claim to the usual allowance of visual organs.

“Yet, on my honour,” said Dick, “I would swear you had been born blind, since you have failed at the first glance to discover the subject and meaning of that sketch. I do not mean to praise my own performance, I leave these arts to others; I am sensible of my deficiencies, conscious that my drawing and colouring may be improved by the time I intend to dedicate to the art. But the conception—the expression—the positions—these tell the story to every one who