CHAPTER XII.
“YES, sir, Mr. Melville is at home in his studio.”
Kenelm followed the maid across the hall into a room not built at the date of Kenelm’s former visits to the house: the artist, making Grasmere his chief residence after Lily’s death, had added it at the back of the neglected place wherein Lily had encaged “the souls of infants unbaptized.”
A lofty room, with a casement partially darkened, to the bleak north; various sketches on the walls; gaunt specimens of antique furniture, and of gorgeous Italian silks, scattered about in confused disorder; one large picture on its easel curtained; another as large, and half finished, before which stood the painter. He turned quickly, as Kenelm entered the room unannounced, let fall brush and palette, came up to him eagerly, grasped his hand, drooped his head on Kenelm’s shoulder, and said, in a voice struggling with evident and strong emotion,—
“Since we parted, such grief! such a loss!”
“I know it; I have seen her grave. Let us not speak of it. Why so needlessly revive your sorrow? So—so—your sanguine hopes are fulfilled: the world at last has done you justice? Emlyn tells me that you have painted a very famous picture.”
Kenelm had seated himself as he thus spoke. The painter still stood with dejected attitude on the middle of the floor, and brushed his hand over his moistened eyes once or twice before he answered, “Yes, wait a moment, don’t talk of fame yet. Bear with me. The sudden sight of you unnerved me.”
The artist here seated himself also on an old worm-eaten Gothic chest, rumpling and chafing the golden or tinselled threads of the embroidered silk, so rare and so time-worn, flung over the Gothic chest, so rare also, and so worm-eaten.
Kenelm looked through half-closed lids at the artist, and his lips, before slightly curved with a secret scorn, became gravely compressed. In Melville’s struggle to conceal emotion the strong man recognized a strong man,—recognized, and yet only wondered; wondered how such a man, to whom Lily had pledged her hand, could so soon after the loss of Lily go on painting pictures, and care for any praise bestowed on a yard of canvas.
In a very few minutes Melville recommenced conversation,—no more reference to Lily than if she had never existed. “Yes, my last picture has been indeed a success,—a reward complete, if tardy, for all the bitterness of former struggles made in vain, for the galling sense of injustice, the anguish of which only an artist knows, when unworthy rivals are ranked before him.