A Girl of the Commune

by G. A. Henty

"I have brought the last two things I did before leaving London."

"Well, you can bring them if you like," the master said, ungraciously, "but I warn you it will be useless. You English cannot paint, even the best of you. You have no soul, you are monotonous, but you may bring them."

An hour later Cuthbert returned to the studio, which was now occupied by the students.

"You are prompt," the master said, looking round from the student whose work he was correcting with no small amount of grumbling and objurgation. "Put your things on those two spare easels, I will look at them presently."

Seeing that several of the other students were smoking, Cuthbert filled and lighted his pipe, calmly placed the pictures on the easels without taking off the cloths in which they were wrapped, and then put his hands into the pockets of his velvet jacket and looked round the room. After his experience of some of the luxuriously arranged studios at St. John's Wood, the room looked bare and desolate. There was no carpet and not a single chair or lounge of any description. Some fifteen young fellows were painting. All wore workmen's blouses. All had mustaches, and most of them had long hair. They appeared intent on their work, but smiles and winks were furtively exchanged, and the careless nonchalance of this tall young Englishman evidently amused them. In four or five minutes M. Goudé turned round and walked towards the easels. Cuthbert stepped to them and removed the cloths. The master stopped abruptly, looked at them without speaking for a minute or two, then walked up and closely examined them.

"They are entirely your own work?" he asked.

"Certainly, I did not show either of them to my master until I had finished them."

They were companion pictures. The one was a girl standing in a veranda covered with a grapevine, through which bright rays of sunshine shone, one of them falling full on her face. She was evidently listening, and there was a look of joyous expectancy in her face. Underneath, on the margin of the canvas, was written in charcoal, "Hope." The other represented the same figure, darkly dressed, with a wan, hopeless look in her face, standing on a rock at the edge of an angry sea, over which she was gazing; while the sky overhead was dark and sombre without a rift in the hurrying clouds. It was labelled "Despair."

For two or three minutes longer M. Goudé looked silently at the pictures and then turning suddenly called out, "Attention, gentlemen. Regard these pictures, they are the work of this gentleman who desires to enter my studio. In the eight years I have been teaching I have had over two hundred canvases submitted to me, but not one like these. I need not say that I shall be glad to receive him. He has been well taught. His technique is good and he has genius. Gentlemen, I have the honor to present to you Monsieur Cuthbert Hartington, who is henceforth one of you."

The students crowded round the pictures with exclamations of surprise and admiration. It was not until M. Goudé said sharply "to work," that they returned to their easels.