“Take that chair away; throw it out of the window,” cried he, angrily. “It breaks my heart to look at it.” And with this he leaned his head upon the table, and sobbed like a child.
CHAPTER XX. A VERY SMALL “INTERIOR.”
IN one of the most favored spots of that pleasant quay which goes by the name of the Lungo l'Arno, at Florence, there stood a small, miserable-looking, rickety old building, of two stories high, wedged in between two massive and imposing palaces, as though a buffer to deaden the force of collision. In all probability it owed its origin to some petty usurpation, and had gradually grown up, from the unobtrusive humility of a cobbler's bulk, to the more permanent nuisance of stone and mortar. The space occupied was so small as barely to permit of a door and a little window beside it, within which hung a variety of bridles, halters, and such-like gear, with here and there the brass-mounted harnessing of a Calasina, or the gay worsted tassels and fringed finery of a peasant's Barroccino. The little spot was so completely crammed with wares, that for all purposes of traffic it was useless; hence, everything that pertained to sale was carried on in the street, thus contributing by another ingredient to the annoyance of this misplaced residence. Threats, tyranny, bribery, seductions of twenty kinds, intimidation in as many shapes, had all failed in inducing its owner to remove to another part of the town. Gigi every one in Florence is known by his Christian name, and we never heard him called by any other resisted oppressions as manfully as he was proof against softer influences, and held his ground, hammering away at his old “demi-piques,” burnishing bits and scouring housings, in utter indifference to the jarred nerves and chafed susceptibilities of his fine neighbors. It was not that the man was indifferent to money. It was not that the place was associated with any family reminiscences. It was not from its being very favorable to the nature of his dealings, since his chief customers were usually the frequenters of the less fashionable localities. It was the simple fact that Gigi was a Florentine, and, like a Florentine, he saw no reason why he should n't have the sun and the Arno as well as the Guiciardoni, who lived at his right, or the Rinuncini, who dwelt on his left hand.
Small and contracted as that miserable frontage was, the sun did shine upon it just as pleasantly as on its proud neighbors, and the bright Arno glided by with its laughing ripples; while, from the little window above stairs, the eye ranged over the cypress-clad hill of San Miniato and the fair gardens of the Boboli. On one side lay the quaint old structure of the Ponte Vecchio, with its glittering stores of jewelry, and on the other the graceful elliptic arches of St. Trinita spanned the stream. The quay before the door was the chosen rallying-point of all Florence; the promenade where lounged all its fashionables of an evening, as they descended from their carriages after the accustomed drive in the Cascini. The Guardie Nobili passed daily, in all their scarlet bravery, to and from the Pitti Palace; the Grand Ducal equipage never took any other road. A continual flow of travellers to the great hotels on the quay contributed its share of bustle and animation to the scene; so that here might be said to meet, as in a focus, all that made up the life, the stir, and the movement of the capital.
Full of amusement and interest as that morning panorama often is, our object is less to linger beside it, than, having squeezed our way between the chaotic wares of Gigi's shop, to ascend the little, dark, and creaking stairs which lead to the first story, and into which we now beg to introduce our reader. There are but two rooms, each of them of the dimensions of closets, but furnished with a degree of pretension that cannot fail to cause amazement as you enter. Silk draperies, carved cabinets, bronzes, china, chairs of ebony, tables of buhl, a Persian rug on the floor, an alabaster lamp suspended from the ceiling, miniatures in handsome frames, and armor, cover the walls; while, scattered about, are richly bound books, and prints, and drawings in water-color. Through the half-drawn curtain that covers the doorway for there is no door you can peep into the back room, where a lighter and more modern taste prevails; the gold-sprigged curtains of a French bed, and the Bohemian glass that glitters everywhere, bespeaking another era of decorative luxury.
It is not with any invidious pleasure for depreciation, but purely in the interests of truth, that we must now tell our reader that, of all this seeming elegance and splendor, nothing absolutely nothing is real. The brocaded silks have been old petticoats; the ebony is lacquer; the ivory is bone; the statuettes are plaster, glazed so as to look like marble; the armor is papier mache, even to the owner himself, all is imposition, for he is no other than Albert Jekyl.
Now, my dear reader, you and I see these things precisely in the same light. The illusion of a first glance stripped off, we smile as we examine, one by one, the ingenious devices meant to counterfeit ancient art or modern elegance. It is possible, too, that we derive as much amusement from the ingenuity exercised, as we should have had pleasure in contemplating the realities so typified. Still, there is one individual to whom this consciousness brings no alloy of enjoyment; Jekyl has persuaded himself to accept all as fact. Like the Indian, who first carves and then worships his god, he has gone through the old process of fabrication, and now gazes on his handiwork with the eyes of a true believer. Gracefully reclined upon an ottoman, the mock amber mouthpiece of a gilt hooka between his lips, he dreams, with half-closed eyes, of Oriental luxury! A Sybarite in every taste, he has invented a little philosophy of his own. He has seen enough of life to know that thousands might live in enjoyment out of the superfluities of rich men, and yet make them nothing the poorer. What banquet would not admit of a guest the more? What fete to which another might not be added? What four-in-hand prances by without some vacant seat, be it even in the rumble? What gilded gondola has not a place to spare? To be this “complement” to the world's want is then his mission.
No man invents a metier without a strong element of success. The very creative power is an earnest of victory. It is true that there had been great men before Agamemnon. So had there been a race of “diners-out” before Jekyl; but he first reduced the practice to system, showing that all the triumphs of cookery, all the splendor of equipage, all the blandishments of beauty, all the fascinations of high society, may be enjoyed by one who actually does not hold a “share in the company,” and, without the qualification of scrip, takes his place among the directors.
Had he brought to this new profession commonplace abilities and inferior acquirements, he would have been lost amid that vulgar herd of indistinguishables which infest every city, and whose names are not even “writ in water.” Jekyl, however, possessed many and varied gifts. He might have made a popular preacher in a watering-place; a very successful doctor for nervous invalids; a clever practitioner at the bar; an admirable member of the newspaper press. He might have been very good as an actor; he would have been glorious as an auctioneer. With qualities of this order, a most plastic wit, and an india-rubber conscience, what bound need there be to his success! Nor was there. He was, in all the society of the capital, not alone an admitted and accepted, but a welcome guest. He might have failed to strike this man as being clever, or that as being agreeable. Some might be disappointed in his smartness; some might think his social claims overrated; none were ever offended by anything that fell from him. His great secret seemed to lie in the fact that, if generally easy to be found when required, he was never in the way when not wanted. Had he possessed the gift of invisibility, he could scarcely have been more successful in this latter good quality. He never interrupted a confidence; never marred a tete-a-tete. A kind of instinct would arrest his steps as he approached a boudoir where his presence would be undesirable; and he has been known to retire from a door on which he had already placed his hand, with a sudden burst of intelligence suggesting “to come another day.”
These, however, seem mere negative qualities; his positive ones were, however, not less remarkable. The faculties which some men might have devoted to abstract science or metaphysical inquiry, he, with a keen perception of his own fitness, resolved to exercise upon the world around him. His botany was a human classification, all his chemistry an analysis of men's motives. It is true, perhaps, that the poet's line may have been received by him with a peculiar limitation, and that,