His days were largely spent in their studios where, seated in the most comfortable chair he could find, he would smoke lazily and watch them at work and criticise freely. Men grumbled and laughed at his presumption, but were ready to acknowledge the justice of his criticism. He had an excellent eye for color and effect and for the contrast of light and shade, and those whose pictures were hung, were often ready enough to admit that the canvas owed much of its charm to some happy suggestion on Cuthbert's often ready part.
Every two or three months he went home for a fortnight. He was greatly attached to his father, and it was the one drawback to the contentment of his life that he had been unable to carry out the Squire's wishes, and to settle down with him at Fairclose. He would occasionally bemoan himself over this to his friends.
"I am as bad as the prodigal son," he would say, "except that I don't get what I deserve, and have neither to feed on husks nor to tend swine; but though the fatted calf would be ready for me if I were to return I can't bring myself to do so."
"I don't know about being a prodigal," Wilson, one of the oldest of his set would grumble in reply, "but I do know you are a lazy young beggar, and are wasting your time and opportunities; it is a thousand pities you were born with a silver spoon in your mouth. Your father ought to have turned you adrift with an allowance just sufficient to have kept you on bread and butter, and have left you to provide everything else for yourself; then you would have been an artist, sir, and would have made a big name for yourself. You would have had no occasion to waste your time in painting pot-boilers, but could have devoted yourself to good, honest, serious work, which is more than most of us can do. We are obliged to consider what will sell and to please the public by turning out what they call pretty pictures—children playing with dogs, and trumpery things of that sort. Bah, it is sickening to see a young fellow wasting his life so."
But Cuthbert only laughed good-temperedly, he was accustomed to such tirades, and was indeed of a singularly sweet and easy temper.
It was the end of the first week in May, the great artistic event of the year was over, the Academy was opened, the pictures had been seen and criticised, there was the usual indignation at pictures being hung generally voted to be daubs, while others that had been considered among the studios as certain of acceptance, had been rejected. Two or three of Cuthbert's friends were starting at once for Cornwall to enjoy a rest after three months' steady work and to lay in a stock of fresh sketches for pictures for the following year.
"I will go with you," Cuthbert said when they informed him of their intention, "it is early yet, but it is warm enough even for loafing on the rocks, and I hate London when it's full. I will go for a fortnight anyhow," and so with Wilson and two younger men, he started for Newquay, on the north of Cornwall. Once established there the party met only at meals.
"We don't want to be doing the same bits," Wilson said, "and we shall see plenty of each other of an evening." Cuthbert was delighted with the place, and with his usual enthusiasm speedily fixed upon a subject, and setting up his easel and camp-stool began work on the morning after his arrival. He had been engaged but a few hours when two young ladies came along. They stopped close to him, and Cuthbert, who hated being overlooked when at work, was on the point of growling an anathema under his fair drooping mustache, when one of the girls came close and said quietly—
"How are you, Mr. Hartington? Who would have thought of meeting you here?"
He did not recognize her for a moment and then exclaimed—
"Why, it is Mary Brander. I beg your pardon," he went on, taking off his soft, broad-brimmed hat, "I ought to have said Miss Brander, but having known you so long as Mary Brander, the name slipped out. It must have been three years since we met, and you have shot up from a girl into a full-grown young lady. Are your father and mother here?"
"No, I came down last week to stay with my friend, Miss Treadwyn, who was at Girton with me. Anna, this is Mr. Cuthbert Hartington. Mr. Hartington's place is near Abchester, and he is one of my father's clients."
Miss Treadwyn bowed and Cuthbert took off his hat.
"We have known each other ever since we were children," Mary went on, "that is to say ever since I was a child, for he was a big boy then; he often used to come into our house, while Mr. Hartington was going into business matters with my father, and generally amused himself by teasing me. He used to treat me as if I was a small sort of monkey, and generally ended by putting me in a passion; of course that was in the early days."
"Before you came to years of discretion, Miss Brander. You were growing a very discreet damsel when I last saw you, and I felt rather afraid of you. I know that you were good enough to express much disapproval of me and my ways."
"Very likely I did, though I don't remember it. I think I was very outspoken in those days."
"I do not think you have changed much in that respect, Mary," Miss Treadwyn said.
"Why should one say what one does not think," Mary said, sturdily, "it would be much better if we all did so. Do you not agree with me, Mr. Hartington?"
"It depends upon what 'better' means; it would be awful to think of the consequences if we all did so. Society would dissolve itself into its component parts and every man's hand would be against his neighbor. I do not say that people should say what they do not think, but I am sure that the world would not be so pleasant as it is by a long way if every one was to say exactly what he did think. Just imagine what the sensation of authors or artists would be if critics were to state their opinions with absolute candor!"
"I think it were better if they did so, Mr. Hartington; in that case there would be fewer idiotic books written and fewer men wasting their lives in trying vainly to produce good paintings."
"That is true enough," Cuthbert laughed, "but you must remember that critics do not buy either books or paintings, and that there are plenty of people who buy the idiotic books and are perfectly content with pictures without a particle of artistic merit."
"I suppose so," she admitted, reluctantly, "but so much the worse, for it causes mediocrity!"
"But we are most of us mediocre—authors like Dickens, Thackeray, and George Eliot are the exception—and so are artists like Millais and Landseer, but when books and paintings give pleasure they fulfil their purpose, don't they?"
"If their purpose is to afford a livelihood to those that make them, I suppose they do, Mr. Hartington; but they do not fulfil what ought to be their purpose—which should, of course, be to elevate the mind or to improve the taste."
He shook his head.
"That is too lofty an ideal altogether for me," he said. "I doubt whether men are much happier for their minds being improved or their tastes elevated, unless they are fortunate enough to have sufficient means to gratify those tastes. If a man is happy and contented with the street he lives in, the house he inhabits, the pictures on his walls, and the books he gets from a library, is he better off when you teach him that the street is mean and ugly, the house an outrage on architectural taste, the wall-papers revolting, the pictures daubs, and the books trash? Upon my word I don't think so. I am afraid I am a Philistine."
"But you are an artist, are you not, Mr. Hartington," Miss Treadwyn said, looking at the sketch which had already made considerable progress.
"Unfortunately, no; I have a taste for art, but that is all. I should be