The Lovels of Arden, Mary Elizabeth Braddon [win 10 ebook reader .txt] 📗

to give him counsel for the future.

The drawing-room looking north was rather a dreary apartment, if any apartment furnished with blue-satin damask and unlimited gilding can be called dreary. There was splendour, of course, but it was a chilling kind of splendour. The room was large and square, with two tall wide windows commanding a view of one of the dullest streets in new Paris--a street at the end of which workmen were still busy cutting away a hill, the removal whereof was necessary for the realisation of the Augustan idea of that archetypal city, which was to be left all marble. Mr. Granger's apartments were in a corner house, and he had the advantage of this side view. There was very little of what Mr. Wemmick called "portable property" in this northern drawing-room. There were blue-satin divans running along the walls, a couple of blue-satin easy-chairs, an ormolu stand with a monster Sèvres dish for cards, and that was all--a room in which one might, "receive," but could scarcely live.

The light was capital, Mr. Austin said. He set up his easel, settled the position of his sister, after a little discussion with Mr. Granger, and began work. Clarissa's was to be the first portrait. This being arranged, Mr. Granger departed to write letters, leaving Sophia established, with her Berlin-wool work, at one of the windows. Clarissa would not, of course, like to be left _tête-à-tête_ for two or three hours with a strange painter, Miss Granger opened.

Yes, it was very pleasant to have him there, even though their talk was restrained by the presence of a third person, and they could only speak of indifferent things. Perhaps to Austin Lovel himself it was pleasanter to have Miss Granger there than to be quite alone with his sister. He was very fond of Clarissa, but there was much in his past life--some things in his present life even--that would not bear talking of, and he shrank a little from his sister's tender questioning. Protected by Miss Granger and her Berlin-wool spaniels, he was quite at his ease, and ran gaily on about all manner of things as he sketched his outline and set his palette. He gave the two ladies a lively picture of existing French art, with little satirical touches here and there. Even Sophia was amused, and blushed to find herself comparing the social graces of Mr. Austin the painter with those of Mr. Tillott the curate, very much to the advantage of the former--blushed to find herself so much interested in any conversation that was not strictly utilitarian or evangelical in its drift. Once or twice Austin spoke of his travels, his Australian experiences; and at each mention, Clarissa looked up eagerly, anxious to hear more. The history of her brother's past was a blank to her, and she was keenly interested by the slightest allusion that cast a ray of light upon it. Mr. Austin did not care, however, to dwell much upon his own affairs. It was chiefly of other people that he talked. Throughout that first sitting Miss Granger maintained a dignified formality, tempered by maidenly graciousness. The young man was amusing, certainly, and it was not often Miss Granger permitted herself to be amused. She thought Clarissa was too familiar with him, treated him too much with an air of perfect equality. A man who painted portraits for hire should be received, Miss Granger thought, as one would receive a superior kind of bootmaker.

More than once, in fact, in the course of that agreeable morning, Clarissa had for a moment forgotten that she was talking to Mr. Austin the painter, and not to her brother Austin Lovel. More than once an unconscious warmth or softness in her tone had made Miss Granger look up from her embroidery-frame with the eyes of wonder.

Mr. Granger came back to the drawing-room, having finished his letter-writing just as the sitting concluded, and, luncheon being announced at the same time, asked Mr. Austin to stay for that meal. Austin had no objection to linger in his sister's society. He wanted to know what kind of man this Daniel Granger was; and perhaps wanted to see what probability there was of Daniel Granger's wife being able to supply him with money in the future. Austin Lovel had, from his earliest boyhood, possessed a fatal capacity for getting rid of money, and for getting into debt; not common plain-sailing debt, which would lead at the worst to the Bankruptcy Court, but liability of a more disreputable and perilous character, involving the terror of disgrace, and entanglements that would have to be unravelled by a police-magistrate.

Racing debts, gambling debts, and bill-discounting transactions, had been the agreeable variety of difficulties which had beset Austin Level's military career; and at the end there had been something--something fully known to a few only--which had made the immediate sale of his commission a necessity. He was _allowed_ to sell it; and that was much, his friends said. If his commanding officer had not been an easy-going kind of man, he would scarcely have got off so cheaply.

"I wonder how this fellow Granger would treat me, if he knew who I was?" he thought to himself. "He'd inaugurate our acquaintance by kicking me out of his house most likely, instead of asking me to luncheon." Notwithstanding which opinion Mr. Austin sat down to share the sacred bread and salt with his brother-in-law, and ate a cutlet _a la Maintenon_, and drank half a bottle of claret, with a perfect enjoyment of the situation. He liked the idea of being patronised by the man who would not have tolerated his society for a moment, had he been aware of his identity.

He talked of Parisian life during luncheon, keeping carefully clear of all subjects which the "young person," as represented by Miss Granger, might blush to hear; and Mr. Granger, who had only an Englishman's knowledge of the city, was amused by the pleasant gossip. The meal lasted longer than usual, and lost all its wonted formality; and the fair Sophia found herself more and more interested in this fascinating painter, with his brilliant dark eyes, and sarcastic mouth, and generally agreeable manner. She sat next him at luncheon, and, when there came a little pause in the conversation, began to question him about the state of the Parisian poor. It was very bad, was it not?

Mr. Austin shrugged his shoulders.

"I don't know," he said, "but I don't think it would be possible for a man to starve to death in Paris under the Imperial regime; and it seems very easy for an Englishman to do it in Spitalfields or Mile-end New Town. You don't hear of men and women found dead in their garrets from sheer hunger. But of course there is a good deal of poverty and squalor to be found in the city."

And then Mr. Austin launched into a graphic description of some interesting phases of life among the lower classes, borrowed from a novel that had been recently delighting the reading public of France, but appropriated with such an air of reality, that Miss Granger fancied this delightful painter must spend some considerable part of his existence as a district visitor or city missionary.

"What a pity that Mr. Tillott has not his persuasive powers!" she thought; Mr. Tillott's eloquence being, in fact, of a very limited order, chiefly exhibiting itself in little jerky questions about the spiritual and temporal welfare of his humble parishioners--questions which, in the vernacular language of agricultural labourers, "put a chap's back up, somehow."

"I should like to show Mr. Austin the baby, Daniel," Clarissa said to her husband shyly, while Miss Granger was keeping Austin hard and fast to the amelioration of the working classes; "he would make such a lovely picture."

Mr. Granger smiled, a quiet well-satisfied smile. He, the strong man, the millowner and millionaire, was as weak as the weakest woman in all things concerning the child of his mature age.

"Yes," he said, with some affectation of indifference; "Lovel would make a nice picture enough. We'll have him painted if you like, Clary, some day. Send for him, my dear."

She had her hand upon the bell directly.

"Yes," she cried, "he would make the sweetest picture in the world, and Austin shall paint him."

The familiar mention of the name Austin, _tout court_, scared Mr. Granger almost as much as a cannon fired close at his elbow might have done. He stared at his wife with grave displeasure.

"_Mr_. Austin can paint him some day, if you wish it, Clarissa," he said.

Mrs. Granger blushed crimson; again she remembered that this brother she loved so dearly was only a strange painter of portraits, whom it behoved her to treat with only the most formal courtesy. She hated the deception; and having a strong faith in her husband's generosity, was sorely tempted to put an end to this acted lie on the spot, and to tell him who his guest was; but fear of her brother's anger stopped her. She had no right to betray him; she must wait his permission to tell the secret.

"Even Sophia seems to like him," she thought; "and I don't think Daniel could help being pleased with him, in spite of anything papa may have said to his prejudice."

The baby was brought, and, being in a benignant humour, was graciously pleased to look his brightest and prettiest, and in nurse's phraseology, to "take to" his unknown uncle. The unknown uncle kissed him affectionately, and said some civil things about the colour of his eyes, and the plumpness of his limbs--"quite a Rubens baby," and so on, but did not consider a boy-baby an especially wonderful creature, having had two boy-babies of his own, and not having particularly wanted them. He looked upon them rather as chronic perplexities, like accommodation bills that had matured unawares.

"And this is the heir of Arden," he said to himself, as he looked down at the fat blue-eyed thing struggling in Clarissa's arms, with that desperate desire to get nowhere in particular, common to infancy. "So this little lump of humanity is the future lord of the home that should have been mine. I don't know that I envy him. Country life and Arden would hardly have suited me. I think I'd rather have an _entresol_ in the Champs Elysees, and the run of the boulevards, than the gray old Court and a respectable position. Unless a man's tastes are 'horsey' or agricultural, country life must be a bore."

Mr. Austin patted the plump young cheeks without any feeling of enmity.

"Poor little beggar! What ghosts will haunt him in the old rooms by-and-by, I wonder?" he said to himself, smiling down at the child.

* * * * *


CHAPTER XXXIV.


AUSTIN'S PROSPECTS.

The picture made rapid progress. For his very life--though the finishing of his work had been the signal of his doom, and the executioner waiting to make a sudden end of him when the last touch was laid upon the canvas, Austin Lovel could not have painted slowly. The dashing offhand brush was like a young thoroughbred, that could not be pulled, let the jockey saw at his mouth as he might. And yet the painter would have liked much to prolong this easy intercourse with his sister. But after Clarissa's portrait was finished, there was Miss Granger to be painted; and then they would want a picture of that unapproachable baby, no doubt;