So much in the way of general preface to the pages for which I am about to ask the reader's attention. Let me now advance to particulars, and describe how I came to hear the first story in the present collection. I begin with it because it is the story that I have oftenest "rehearsed," to borrow a phrase from the stage. Wherever I go, I am sooner or later sure to tell it. Only last night, I was persuaded into repeating it once more by the inhabitants of the farmhouse in which I am now staying.
Not many years ago, on returning from a short holiday visit to a friend settled in Paris, I found professional letters awaiting me at my agent's in London, which required my immediate presence in Liverpool. Without stopping to unpack, I proceeded by the first conveyance to my new destination; and, calling at the picture-dealer's shop, where portrait-painting engagements were received for me, found to my great satisfaction that I had remunerative employment in prospect, in and about Liverpool, for at least two months to come. I was putting up my letters in high spirits, and was just leaving the picture-dealer's shop to look out for comfortable lodgings, when I was met at the door by the landlord of one of the largest hotels in Liverpool--an old acquaintance whom I had known as manager of a tavern in London in my student days.
"Mr. Kerby!" he exclaimed, in great astonishment. "What an unexpected meeting! the last man in the world whom I expected to see, and yet the very man whose services I want to make use of!"
"What, more work for me?" said I; "are all the people in Liverpool going to have their portraits painted?"
"I only know of one," replied the landlord, "a gentleman staying at my hotel, who wants a chalk drawing done for him. I was on my way here to inquire of any artist whom our picture-dealing friend could recommend. How glad I am that I met you before I had committed myself to employing a stranger!"
"Is this likeness wanted at once?" I asked, thinking of the number of engagements that I had already got in my pocket.
"Immediately--to-day--this very hour, if possible," said the landlord. "Mr. Faulkner, the gentleman I am speaking of, was to have sailed yesterday for the Brazils from this place; but the wind shifted last night to the wrong quarter, and he came ashore again this morning. He may of course be detained here for some time; but he may also be called on board ship at half an hour's notice, if the wind shifts back again in the right direction. This uncertainty makes it a matter of importance that the likeness should be begun immediately. Undertake it if you possibly can, for Mr. Faulkner's a liberal gentleman, who is sure to give you your own terms."
I reflected for a minute or two. The portrait was only wanted in chalk, and would not take long; besides, I might finish it in the evening, if my other engagements pressed hard upon me in the daytime. Why not leave my luggage at the picture-dealer's, put off looking for lodgings till night, and secure the new commission boldly by going back at once with the landlord to the hotel? I decided on following this course almost as soon as the idea occurred to me--put my chalks in my pocket, and a sheet of drawing paper in the first of my portfolios that came to hand--and so presented myself before Mr. Faulkner, ready to take his likeness, literally at five minutes' notice.
I found him a very pleasant, intelligent man, young and handsome. He had been a great traveler; had visited all the wonders of the East; and was now about to explore the wilds of the vast South American Continent. Thus much he told me good-humoredly and unconstrainedly while I was preparing my drawing materials.
As soon as I had put him in the right light and position, and had seated myself opposite to him, he changed the subject of conversation, and asked me, a little confusedly as I thought, if it was not a customary practice among portrait-painters to gloss over the faults in their sitters' faces, and to make as much as possible of any good points which their features might possess.
"Certainly," I answered. "You have described the whole art and mystery of successful portrait-painting in a few words."
"May I beg, then," said he, "that you will depart from the usual practice in my case, and draw me with all my defects, exactly as I am? The fact is," he went on, after a moment's pause, "the likeness you are now preparing to take is intended for my mother. My roving disposition makes me a great anxiety to her, and she parted from me this last time very sadly and unwillingly. I don't know how the idea came into my head, but it struck me this morning that I could not better employ the time, while I was delayed here on shore, than by getting my likeness done to send to her as a keepsake. She has no portrait of me since I was a child, and she is sure to value a drawing of me more than anything else I could send to her. I only trouble you with this explanation to prove that I am really sincere in my wish to be drawn unflatteringly, exactly as I am."
Secretly respecting and admiring him for what he had just said, I promised that his directions should be implicitly followed, and began to work immediately. Before I had pursued my occupation for ten minutes, the conversation began to flag, and the usual obstacle to my success with a sitter gradually set itself up between us. Quite unconsciously, of course, Mr. Faulkner stiffened his neck, shut his month, and contracted his eyebrows--evidently under the impression that he was facilitating the process of taking his portrait by making his face as like a lifeless mask as possible. All traces of his natural animated expression were fast disappearing, and he was beginning to change into a heavy and rather melancholy-looking man.
This complete alteration was of no great consequence so long as I was only engaged in drawing the outline of his face and the general form of his features. I accordingly worked on doggedly for more than an hour--then left off to point my chalks again, and to give my sitter a few minutes' rest. Thus far the likeness had not suffered through Mr. Faulkner's unfortunate notion of the right way of sitting for his portrait; but the time of difficulty, as I well knew, was to come. It was impossible for me to think of putting any expression into the drawing unless I could contrive some means, when he resumed his chair, of making him look like himself again. "I will talk to him about foreign parts," thought I, "and try if I can't make him forget that he is sitting for his picture in that way."
While I was pointing my chalks Mr. Faulkner was walking up and down the room. He chanced to see the portfolio I had brought with me leaning against the wall, and asked if there were any sketches in it. I told him there were a few which I had made during my recent stay in Paris; "In Paris?" he repeated, with a look of interest; "may I see them?"
I gave him the permission he asked as a matter of course. Sitting down, he took the portfolio on his knee, and began to look through it. He turned over the first five sketches rapidly enough; but when he came to the sixth, I saw his face flush directly, and observed that he took the drawing out of the portfolio, carried it to the window, and remained silently absorbed in the contemplation of it for full five minutes. After that, he turned round to me, and asked very anxiously if I had any objection to part with that sketch.
It was the least interesting drawing of the collection--merely a view in one of the streets running by the backs of the houses in the Palais Royal. Some four or five of these houses were comprised in the view, which was of no particular use to me in any way; and which was too valueless, as a work of art, for me to think of selling it. I begged his acceptance of it at once. He thanked me quite warmly; and then, seeing that I looked a little surprised at the odd selection he had made from my sketches, laughingly asked me if I could guess why he had been so anxious to become possessed of the view which I had given him?
"Probably," I answered, "there is some remarkable