The elder brother, who never came to Allonby, who never went near the business, who had been portioned off contemptuously by his father, as if he had been a girl (and scorn could not go farther), had married an earl’s daughter, and, more than that, had got her off the very steps of the throne, for she had been a Maid of Honour. He was the most refined and cultivated individual in the world, with one of the most lovely houses in London, and everything about him artistic to the last degree. It was with difficulty that he put up with his father at all. Still, for the sake of his little boy, he acknowledged the relationship from time to time.
As for Fred and his sisters, they have already been made known to the reader. Fred was by way of being “in the business,” and went down to the office three or four times in the week when he was in town. But what he wished to be was an artist. He painted more or less, he modelled, he had a studio of his own in the midst of one of the special artistic quarters, and retired there to work, as he said, whenever the light was good.
For his part Fred aspired to be a Bohemian, and did everything he could in a virtuous way to carry out his intention. He scorned money, or thought he did while enjoying every luxury it could procure. If he could have found a beautiful milkmaid or farm girl with anything like the Rossetti type of countenance he would have married her off-hand; but then beauties of that description are rare. The country lasses on the Border were all of too cheerful a type. But he had fully made up his mind that when the right woman appeared no question of money or ambition should be allowed to interfere between him and his inclinations.
“You may say what you will,” he said to his sisters, “and I allow my principles would not answer with girls. You have nothing else to look to, to get on in the world. But a man can take that sort of thing in his own hands, and if one gets beauty that’s enough. It is more distinction than anything else. I shall insist upon beauty, but nothing more.”
“It all depends on what you call beauty,” said Miss Phyllis. “You can make anything beauty if you stand by it and swear to it. Marrying a painter isn’t at all a bad way. He paints you over and over again till you get recognized as a Type, and then it doesn’t matter what other people say.”
“You can’t call Effie a Type,” said the young lady who called herself Doris—her name in fact was a more humble one: but then not even the Herald’s College has anything to do with Christian names.
“She may not be a Type—but if you had seen her as I did in the half light, coming out gradually as one’s eyes got used to it like something developing in a camera—Jove! She was like a Burne-Jones—not strong enough for the blessed Damozel or that sort of thing, but sad and sweet like—like—” Fred paused for a simile, “like a hopeless maiden in a procession winding down endless stairs, or—standing about in the wet, or—If she had not been dressed in nineteenth-century costume.”
“He calls that nineteenth-century costume!” said Phyllis with a mixture of sympathy and scorn.
“Poor Effie is not dressed at all,” said the other sister. “She has clothes on, that is all: but I could make her look very nice if she were in my hands. She has a pretty little figure, not spoiled at all—not too solid like most country girls but just enough to drape a pretty flowing stuff or soft muslin upon. I should turn her out that you would not know her if she trusted herself to me.”
“For goodness’ sake let her alone,” cried Fred; “don’t make a trollop of my little maiden. Her little stiffness suits her. I like her just so, in her white frock.”