"Thank you, but I don't want any of your fluctuating incomes for my girl. I don't care if you earned ten thousand pounds this year. So long as you can't guarantee that to last, you're no better than a speculator—a hand-to-mouth, don't-know-where-you-are-to-morrow sort of person. Now, that sort of thing won't do, Mr. Vernon. Before you next think of marrying a girl in my daughter's position, let me give you this bit of advice: learn to paint your pictures on some kind of proper business principles. If you do them, say, once a month and sell them at a standard price—just as other folks have to manufacture and sell their goods—you'll not find yourself in the same ridiculous position you're in at this moment."
Mr. Walkingshaw rose to indicate that the interview was at an end; but the artist's endurance ended first.
"Mr. Walkingshaw! Did you ever make anything in your life?"
The W.S. stared at him.
"I have made most of what I possess, sir."
"Pooh! You're talking of money. Does your mind never run on anything but money? I mean, have you ever made a hat or a shoe, or a book or a picture, or even a cheese? Have you ever actually turned out anything that was the least use or pleasure to anybody?"
Vernon's blue eyes were bent upon him in such an extraordinarily intense and flashing manner that Mr. Walkingshaw found himself compelled to answer.
"That kind of thing is—ah—not in my line."
"Then," burst forth the artist, "you can no more judge of my work than a toasting-fork can judge of a steam engine. The woman who cooks your dinner understands more than you do. She knows better than to think it costs no more time and trouble to cook an omelette than boil an egg. A picture a month, and the same price for each! Confound it, Mr. Walkingshaw, you make me ashamed of you!"
"Do you imagine, sir, that that affects me?"