'Where should I drive him to?' cried Mrs. Fenwick, stifled. She had broken a sycamore twig, and was stripping it violently of its buds.
Miss Anna looked at her unmoved. The grey-haired schoolmistress was a woman of ideas and ambitions beyond her apparent scope in life. She had read her Carlyle and Ruskin, and in her calling she was an enthusiast. But, in the words of the Elizabethan poet, she was perhaps 'unacquainted still with her own soul.' She imagined herself a Radical; she was in truth a tyrant. She preached Ruskin and the simple life; no worldling ever believed more fiercely in the gospel of success. But, let it be said promptly, it was success for others, rarely or never for herself; she despised the friend who could not breast and conquer circumstance; as for her own case, there were matters much more interesting to think of. But she was the gadfly, the spur of all to whom she gave her affection. Phoebe, first her pupil, then her under-mistress, and moulded still by the old habit of subordination to her, both loved and dreaded her. It was said that she had made the match between her protégée and old Fenwick's rebellious and gifted son. She had certainly encouraged it, and, whether from conscience or invincible habit, she had meddled a good deal with it ever since.
In reply to Phoebe's question, Miss Anna merely inquired whether Mrs. Fenwick supposed that George Romney—the Westmoreland artist—would have had much chance with his art if he had stayed on in Westmoreland? Why, the other day a picture by Romney had been sold for three thousand pounds! And pray, would he ever have become a great painter at all if he had stuck to Kendal or Dalton-in-Furness all his life?—if he had never been brought in contact with the influences, the money, and the sitters of London? Those were the questions that Phoebe had to answer. 'Would the beautiful Lady This and Lady That ever have come to Kendal to be painted?—would he ever have seen Lady Hamilton?'
At this Mrs. Fenwick flushed hotly from brow to chin.
'I rather wonder at you, Miss Anna!' she said, breathing fast; 'you think it was all right he should desert his wife for thirty years—so—so long as he painted pictures of that bad woman, Lady Hamilton, for you to look at!'
Miss Anna looked curiously at her companion. The schoolmistress was puzzled—and provoked.
'Well!—you don't suppose that John's going to desert you for thirty years!' said the other, with an impatient laugh. 'Don't be absurd, Phoebe.'
Phoebe said nothing. She heard a cry from the baby Carrie, and she hurried across the little garden to the house. At the same moment there was a shout of greeting from below, and Fenwick came into sight on the steep pitch of lane that led from the high-road to the cottage. Miss Anna strolled down to meet him.
In the eyes of his old friend, John Fenwick made a very handsome figure as he approached her, his painter's wallet slung over his shoulder. That something remarkable had happened to him she divined at once. In moments of excitement a certain foreign look—as some people thought, a gypsyish look—was apt to show itself. The roving eyes, the wild manner, the dancing step betrayed the in most man—banishing altogether the furtive or jealous reserve of the North-Countryman, which were at other times equally to be noticed. Miss Anna had often wondered how the same man could be so shy—and so vain!
However, though elation of some sort was uppermost, he was not at first inclined to reveal himself. He told Miss Anna as they walked up together that he had done with Miss Bella; that old Morrison praised the portrait, and the girl hated it; that she was a vulgar, conceited creature, and he was thankful to have finished.
'If I were to show it at Manchester next month, you'd see what the papers would say. But I suppose Miss Bella would sooner die than let her father send it. Silly goose! Powdering every time—and sucking her lips to make them red—and twisting her neck about—ugh! I've no patience with women like that! When I get on a bit, I'll paint nobody I don't want to paint.'
'All right—but get on first,' said Miss Anna, patting him on the arm.
'What next, John—what next?'
He hesitated. His look grew for a moment veiled and furtive. 'Oh, there's plenty to do,' he said, evasively.
They paused on the green ledges outside the cottage.
'What—portraits?'
He nodded uncertainly.
'You'll not grow fat on Great Langdale,' said Miss Anna, waving an ironical hand towards the green desolation of the valley.
He looked at her, walked up and down a moment, then said with an outburst, though in a low tone, and with a look over his shoulder at the open window of the cottage, 'Morrison's lent me a hundred pounds. He advises me to go to London at once.'
Miss Anna raised her eyebrows. 'Oh—oh!' she said—'that's news! What do you mean by "at once"?—September?'
'Next week—I won't lose a day.'
Miss Anna pondered.
'Well, I dare say Phoebe can hurry up.'
'Oh! I can't take Phoebe,' he said, in a hasty, rather injured voice.
'Not take Phoebe!' cried the other under her breath, seeming to hear around her the ghosts of words which had but just passed between her and Phoebe—'and what on earth are you going to do with her?'
He led her away towards the edge of the little garden—arguing, prophesying, laying down the law.
While he was thus engaged came Phoebe's silver voice from the parlour:
'Is that you, John? Supper's ready.'
He and Miss Anna turned.
'Hush, please!' said Fenwick to his companion, finger on lip; and they entered.
'You'll have got the money from Mr. Morrison, John?' said Phoebe, presently, when they were settled to their meal.
'Aye,' said Fenwick, 'that's all right. Phoebe, that's a real pretty dress of yours.'
Soft colour rose in the wife's cheeks.
'I'm glad you like it,' said Phoebe, soberly. Then looking up—
'John—don't give Carrie that!—it'll make her sick.'
For Fenwick was stealthily feeding the baby beside him with morsels from his own plate. The child's face—pink mouth and blue eyes, both wide open—hung upon him in a fixed expectancy.
'She does like it so—the little greedy puss! It won't do her any harm.'
But the mother persisted. Then the child cried, and the father and mother wrangled over it, till Fenwick caught up the babe by Phoebe's peremptory directions and carried it away upstairs. At the door of the little parlour, while Phoebe was at his shoulder, wiping away the child's tears and cooing to it, Fenwick suddenly turned his head and kissed his wife's cheek, or rather her pretty ear, which presented itself. Miss Anna, still at table, laughed discreetly behind their backs—the laugh of the sweet-natured old maid.
When the child was asleep upstairs, Phoebe and the little servant cleared away while Fenwick and Miss Anna read the newspaper, and talked on generalities. In this talk Phoebe had no share, and it might have been noticed by one who knew them well, that in his conversation with Miss Mason, Fenwick became another man. He used tones and phrases that he either had never used, or used no longer, with Phoebe. He showed himself, in fact, intellectually at ease, expansive, and, at times, amazingly arrogant. For instance, in discussing a paragraph about the Academy in the London letter of the Westmoreland Gazette, he fired up and paced the room, haranguing his listener in a loud, eager voice. Of course she knew—every one knew—that all the best men and all the coming forces were now outside the Academy. Millais, Leighton, Watts—spent talents, extinct volcanoes!—Tadema a marvellous mechanic, without ideas!—the landscape men, chaotic—no standard anywhere, no style. On the other hand, Burne-Jones