My mentor was in a seriously practical vein on this Saturday night; partly perhaps because, as the event proved, he was within four days of one of his periodical disappearances.
XVI
In the early afternoon of Sunday I set out upon the visit I had originally intended to pay on the previous day.
Three o'clock found me rather nervously ringing a bell at the door of Filson House in Macquarie Street. Under the brightly polished bell-pull was the name C. F. Rawlence, and the legend: 'Do not ring unless an answer is required.' It was my first experience of such a notice, and I felt uncertain how it was intended to apply. Neither for the moment could I understand why in the world any sane person should ring a bell unless desirous of eliciting a response of some kind. Finally, I decided that it must be a plaintive and exceedingly trustful appeal to the good nature of urchins who might be tempted to ring and run away.
A smiling young Chinaman presently opened the door to me, and said: 'You come top-side alonga me, pease; Mr. Lollance he's in.'
So I walked upstairs behind the silent, felt-shod Asiatic, and wondered what was coming next. I had hitherto associated Chinamen in Australia exclusively with market-gardening and laundry work. The house was not a very high one, but it really was its 'top-side' we walked to, and, arrived there, I was shown into what I thought must certainly be the largest and most magnificent apartment in Sydney.
I dare say the room was thirty feet long by twenty feet wide, without counting the huge fireplace at one end, which formed a room in itself, and did actually accommodate several easy chairs, though I cannot think the weather was ever cold enough in Sydney to admit of people sitting so close to a log fire as these chairs were placed. There were suits of armour, skins of beasts, strange weapons, curious tapestries, and other stock properties of artists' studios, all conventional enough, and yet to me most startling. I had never before visited a studio, and did not know that artists affected these things. The magnificence of it all impressed me enormously. It almost oppressed me with a sense of my own temerity in venturing to visit any one who maintained such state.
'This is what it means to be a famous artist,' I told myself, well assured now, in my innocence, that Mr. Rawlence must be very famous. 'Every one else probably knew it before,' I thought. And just then the great man himself appeared, not at the door behind me, but between heavy curtains which hid some other entrance. He came forward with a welcoming smile. Then, for a moment this gave place to rather blank inquiry. And then the smile returned and broadened.
'Why, it's-- No, it can't be. But it is--my young friend of St. Peter's. I'm delighted. Welcome to Sydney. Sit down, sit down, and let me have your news.'
He reclined in a sidelong way upon a sort of ottoman, and gracefully waved me to an enormous chair facing him.