About My Father's Business. Archer Thomas

the door. Unless I am greatly mistaken, that lady has a French face, and as it is a French lady for whom I am to inquire, I begin to think I have come to the end of my quest. It is evident, however, from the surprised questioning look which greets my appearance, that visits from strangers are not of very frequent occurrence there. I can trace in the rather shrinking recognition accorded to my request to see the lady to whom I bring an introduction, the sensitiveness that belongs to that kind of poverty which has learned to endure in seclusion reverses that would be less bearable if they were exposed to a too obtrusive expression of sympathy. It is a positive relief to be left alone for a minute, standing in that narrow lobby, looking into a room which has the appearance of a disused scullery, while my errand is made known in another room on the right, to which I am presently bidden. It is a poor little place enough; poor, and little, and dim, even for an almshouse, and scarcely suggestive of comfort though a bright fire is burning in a grate, which somewhat resembles a reduced kitchen-range, and though the table which stands beneath the casement bears some preparations for the evening meal, and the cheap luxury of a cut orange on a plate. The walls are dim, the ceiling cracked and discoloured by the evident overflow of water in the room overhead; the furniture consists of a kind of couch which may do duty for a bed by night, and of two or three Windsor chairs, one of which has already been placed for me. It is a poor place enough; and yet the lady to whom I am at once introduced is ready to do its honours with a grace and dignity that well become her appearance and her name. Madame Gracieuse B – , for more than forty years resident in England, and speaking English with a purity of accent that is only rivalled by the more perfect music of the French in which she addresses me, has passed the threescore years and ten which are counted as old age. Yet seeing her sweet, calm face; her smooth, broad, intelligent brow; the mild, penetrating scrutiny of her gentle eyes; the soft hair put back under the quaint French cap, shaped like a hood; those years remain uncounted; until, with a pleasant smile, only just too placid for vivacity, she tells how she came to this country in 1830, after the ruin of the fortunes of her house by the revolution which dethroned Charles X., and made her a governess in England, where so many of the old nobility sought a refuge and a home.

      But before this is said, she has presented me to a third lady – to whom, indeed, my original introduction extended – already long past the limit of that short period which we call long life; for she is more than eighty years old, and by reason of the infirmity which has lately come upon her, does not rise to receive me, but remains seated in the couch by the fire. It is a very limited space in which to be ceremonious; but were this lady sitting in one of a suite of grand rooms in some aristocratic mansion, with all the surroundings to which her birth, her high connections, and the recollection of her own personal accomplishments entitle her, she might not lack the homage which too often only simulates respect.

      It is possible that she may long ago have learned to assess it at its true value, for she has seen it at a court where it could not save a king from banishment; and if we may judge from a face with strong determined lineaments, a brow of concentrated power, and eyes the light of which even the recent paralysis of age has not extinguished, she has been one who could undergo exile, poverty, and even the sadder calamity of being forgotten, with a wonderful endurance.

      Yes, Madame la Comtesse Maria de Comoléra, friend and fellow-student of that Madame Adelaide whose name has become historical, when your father was Monsieur l'Intendant of the Duc d'Orléans, and when you lived within the atmosphere of the French court, spending quiet days at the easel in your painting-room, or preparing the delicate pâte of Sèvres porcelain, on which to paint the roses and lilies that you loved, the grim visions of exile and poverty may never have troubled you. When the house of Bourbon crumbled, and you escaped from the ruin it had made, you had still your art left to solace, if not to gladden you; and for a time at least you lived by it, and took a new rank by the work that you could do. There were flowers in England, and your hands could still place their glowing hues on canvas. Witness those pictures of yours that now hang on the walls of the gallery of the Crystal Palace, or adorn some private collections. Witness, too, the recognition of some of our own painters when Sir Charles Eastlake was president of the Royal Academy, and when you found a friendly patron in Queen Adelaide of gentle memory. Alas, the hand has lost its cunning; and if its work is not altogether forgotten, those who look upon it are unaware that you are living here in this poor room – pensioner of a charity which, were it but supported as it might be, could better lighten your declining years. Yet I will not call you desolate, madame. Two faithful friends are with you yet. The sunset of your calm life, whereof the noon was broken by so terrible a storm, is dim enough; but it goes not down in complete darkness. Gentle and admiring regard survives even in this dull place; and with it the love that can bring tears to eyes not over ready to weep on account of selfish sorrows, and can move ready hands to tend you now that your own grow heavy and feeble.[2]

      As I become more accustomed to the subdued light of the room, I note that amidst the confusion of some old pieces of furniture or lumber there are pictures, unframed and dim, leaning against the walls. One of them – a large painting of some rare plant, formerly a curiosity in the Botanical Gardens at Regent's Park, while the rest are groups of flowers and fruit. Just opposite me, on the high mantel-piece, the canvas broken here and there near the edges, obscured by the dust and smoke that have dulled their surface, are two oil-paintings which I venture to take down for a nearer inspection. Surely they must have been finished when madame was yet in the prime of her art. Exquisite in drawing, delicate in colour, and with a subtle touch that gives to each petal the fresh crumple that bespeaks it newly-blown, and to fruit the dewy down that would make even a gourmet linger ere he pressed the juice. It is almost pain to think that they are left here uncared for; and yet, who knows what influence their presence above that dingy shelf may have upon the wandering thoughts and waning dreams of her who painted them when every new effort of her skill was a keen delight?

      Nay, even as I hold them to the light, and in a pause of our chat (wherein Madame la Comtesse speaks slowly and with some difficulty) say some half-involuntary words of appreciation, she has risen, and stands upright by the fire with an earnest look in her face and a sudden gesture of awakened interest. The artistic instinct is there still, after more than eighty years of life, and the appreciation of the work animates her yet. Not with a mere vulgar love of praise (for Madame is still la Comtesse Comoléra even though she spends her days in an almshouse), but with a recognition that I have distinguished the best of the work that is left to her to show. I shall not readily forget the sudden look of almost eager interest, the effort to speak generous words of thanks, as I bow over her hand to say farewell, and feel that I have been as privileged a visitor as though madame had received me in a gilded salon, at the door of which a powdered lacquey stood to "welcome the coming – speed the parting guest."

      And so with some pleasant leave-takings, and not without permission to see them again, I leave these ladies – the fitting representatives of an old nobility and an old régime– to the solitude to which they have retired from a world too ready to forget.

      If by any means for the solitude could be substituted a pleasant retirement, and for the sense of desolation and poverty a modest provision that would yet include some grace and lightness to light their declining days, it would be but little after all.

      WITH THEM THAT GO DOWN TO THE SEA IN SHIPS

      It is possible that those portions of the sacred history which have reference to the association of our Lord Jesus Christ with ships, and the wonderful portions of the great narrative where the Divine Voice seems, as it were, to come from the sea, may have a special attraction for us who live in an island and claim a kind of maritime dominion.

      Surely the words "Lord, save me, or I perish," and the instant response of the outstretched hand of the Saviour of men, must have been read with an awful joy by many a God-fearing sailor on the homeward voyage. "It is I, be not afraid," must have come with an intensity of meaning to many a heart which has known the peril of the storm, wherein the voice of man to man has been almost inaudible.

      There is something very solemn in the prayers we send up for those at sea. Most of us feel a heart-throb when we lie awake listening to the mighty murmurs of the wind, and waiting for the shrill shriek with which each long terrible blast gathers up its forces – a throb which comes of the sudden thought of lonely