Tchartkóff was a young artist of considerable promise, and whose pencil was at times remarked for its accuracy, and near approach to the truthfulness of nature. But he had faults which procured him frequent admonitions from the professor under whom he studied. "You have talent," he would say to him; "it will be a sin to ruin it by carelessness and by pursuing erroneous ideas and principles. You are too impatient; too apt to be fascinated by novelty, and to neglect rules hallowed by time and experience, laws immutable as those of the Medes. Beware, lest you become a mere fashionable painter. Your colours, I observe, are not unfrequently selected in defiance of good taste; your drawing is often feeble, sometimes positively incorrect; your outlines want clearness. You run after a flashy kind of chiaro-scuro, the lighting up of your picture is meant only to strike the eye at the first glance. And you have a passion for the introduction of finery; a taste for dandified costume. All this is dangerous, and may lead you into the fatal habit of painting mere fashionable pictures, pretty portraits and the like, which yield money, but can never give fame. Do that, and your talent is lost and thrown away. Be patient, wait, reflect, chasten your taste by study, and wean yourself from that hankering after prettiness and dandyism. Leave such tricks to those who care but for gold, and propose yourself a higher aim, the never-dying laurels of a Titian or an Angelo."
The professor meant well, and was right in the main. Tchartkóff was apt to indulge in the flashy and the superficial. But he had sufficient strength of mind to control this dangerous tendency, and a purer taste was gradually but perceptibly developing itself in him. As yet he could not quite appreciate all the depth of Raphael, but he was strongly fascinated by the broad and rapid touch of Guido; he would stand enchanted before Titian's portraits, and had a high appreciation of the Flemish school. Yet the darkened and sober tone characterising old pictures did not quite please or satisfy him; nor did he, in his innermost mind, altogether agree with the professor, when the latter expatiated to him on that mysterious power which places the old masters at such immeasurable distance above the moderns. In some respects he almost fancied them surpassed by the nineteenth century; that the imitation of nature had somehow become, in modern times, more vivid, and lively, and faithful: in a word, his mind was in that fluctuating unsettled state in which the minds of young people are apt to be when they have reached a particular point of proficiency in their art, and feel a proud internal conviction of talent. Often was he filled with rage when he saw some travelling French or German painter, by the mere effect of trick and habit, by readiness of pencil and flashy colouring, catching the multitude, and making a fortune. These impressions made their way into his mind, not in moments when he was buried, body and soul, in his work, and forgot food and drink and all outward things; but when, as was often the case, necessity stared him in the face, and he found himself without the means of buying brushes and colours, or even bread, whilst the greedy and implacable landlord came ten times a-day to dun him for his rent. Then his hunger-sharpened imagination would revert to the different lot of the rich and fashionable painter; then darted through his brain the thought that so often flits through the Russian head, the idea of sending his art and all to the devil, and going to the devil himself.
"Yes, wait! wait!" he exclaimed passionately; "but patience and waiting must have an end. Wait, indeed! and where am I to seek to-morrow's dinner? Borrowing is out of the question; and if I sell my pictures and drawings, they will give me, perhaps, a dougrívennoi for the whole lot. They are useful to me; not one of them but was undertaken with an object,—from each I have learned something. But what would be their value to any body else? They are studies,—exercises; and studies and exercises they will remain to the end of the chapter. And, besides, who would buy them? I am unknown as an artist, and who wants studies from the antique and sketches from the living model, or my unfinished Love and Psyche, or the perspective sketch of my room, or my portrait of Nikíta, though it is really better than the portraits painted by any of your fashionable fellows? And, after all, what do I gain by this? Why should I work myself to death, and keep plodding like a schoolboy over his A, B, C, when I might be as famous as any of them, and have as much money in my pockets?" As he pronounced these words, the artist involuntarily shuddered and turned pale. He saw, looking fixedly at him, peeping out from the shadow of a tall canvass that stood against the wall, a face seemingly torn by some convulsive agony. Two dreadful eyes glared upon the young man, with a strange inexplicable expression; the lips were curled with mingled scorn and suffering; the features were haggard and distorted. Startled, almost terrified, Tchartkóff was on the point of calling Nikíta, who by this time sent forth from his ante-room a Titanic snore, when he checked himself and burst into a laugh. The object of alarm was the portrait he had bought, and which he had completely forgotten. The bright moonbeams, streaming into the room, partially illuminated the picture, and gave it a strange air of reality. By the clear cold light Tchartkóff set to work to examine and clean his purchase. When the coat of dust and filth that incrusted it was removed, he hung the picture upon the wall, and, retiring to look at it, was more than ever astounded at its extraordinary character and power. The countenance seemed lighted up by the fierce and glittering eyes, which looked out of the picture so wonderfully, and assumed, as it seemed to him, such strange and varied and terrible expression, that he at last involuntarily turned away his own, unable to support the gaze of the old Asiatic. Then came into his mind a story he had once heard from his professor, of a certain portrait of the famous Leonardo da Vinci, at which the great master worked for many years, still counting it unfinished, and which, nevertheless, according to Vasari, was universally considered the most perfect and finished production of art. But the most exquisitely finished part of it were the eyes, which excited the wonder of all contemporaries; even the minute and almost invisible veins were exactly rendered and put upon the canvass. But here, on the other hand, in the portrait before him, there was something strange and horrid. This was not art: the eyes absolutely destroyed the harmony of the portrait. They were living, they were human eyes! They seemed to have been cut out of a living man's face and stuck in the picture. Instead of admiration, the portrait inspired a painful feeling of oppression; the beholder was seized with a sort of waking nightmare, weighing upon and overwhelming him like a moral and mysterious incubus.
Shaking off this feeling, Tchartkóff again approached the portrait, and forced himself to gaze steadily upon its eyes. They were still fixed upon him. He changed his place; the eyes followed him. To whatever part of the room he removed, he met their deep malignant glance. They seemed animated with the unnatural sort of life one might expect to find in the eyes of a corpse, newly recalled to existence by the spell of some potent sorcerer. In spite of his better reason, which reproached him for his weakness, Tchartkóff felt an inexplicable impression, which made him unwilling to remain alone in the room. He retired softly from the portrait, turned his eyes in a different direction, and endeavoured to forget its presence; yet, in spite of all his efforts, his eye, as though of its own accord, kept glancing sideways at it. At last he became even fearful to walk about; his excited imagination made him fancy that as soon as he moved somebody was walking behind him,—at each step he glanced timidly over his shoulder. He was naturally no coward; but his nerves and imagination were painfully on the stretch, and he could not control his absurd and involuntary fears. He sat down in the corner; somebody, he thought, peeped stealthily over his shoulder into his face. Even the loud snoring of Nikíta, which resounded from the ante-room, could not dispel his uneasiness and chase away the unreal visions haunting him. At last he rose from his seat, timidly, without lifting his eyes, went behind the screen and lay down on his bed. Through the crevices in the screen he saw his room brightly illuminated by the moon, and he beheld the portrait hanging on the wall. The eyes were fixed upon him even more horribly and meaningly than before, and seemed as if they would not look at any thing but him. Making a strong effort, he got out of bed, took a sheet and hung it over the portrait. This done, he again lay down, feeling more tranquil, and began to muse upon his melancholy lot,—upon the thorns and difficulties that beset the path of the friendless and aspiring artist. At intervals he involuntarily glanced through the crevices of the screen at the shrouded portrait. The bright moonlight increased the whiteness of the sheet, and he at last fancied that he saw the horrible eyes shining through the linen. He strained his sight to convince himself he was mistaken. The contrary effect was produced. The old man's face became more and more distinct;—there could no longer be any doubt: the sheet had disappeared,—the grim portrait was completely uncovered, and the infernal eyes stared straight at him, peering into his very soul. An icy chill came over his heart. He looked again;—the old man had moved, and stood with both hands leaning on the frame. In a few seconds he rose upon his arms, put forth both legs and leaped out of the frame, which was now seen empty through the crevice in the screen. A heavy footstep was heard in the room. The poor artist's heart beat hard and fast. Swallowing his breath for very fear, he awaited the sight of the old man, who evidently approached his bed. And in another moment there he was, peeping round the screen, with the same bronze-like countenance and fixed glittering eyes. Tchartkóff made a violent effort to cry out, but his voice was gone. He strove to stir his limbs,—they refused to obey him. With open mouth and arrested breath he gazed upon the apparition. It was that of a tall man in a wide Asiatic robe. The painter watched its movements. Presently it sat down almost at his very feet, and drew something from between the folds of its flowing dress. This was a bag. The old man untied it, and, seizing it by the two ends, shook it: with a dull heavy sound there fell on the floor a number of heavy packets, of a long cylindrical shape. Their envelope was of dark blue paper, and on each was inscribed, 1000 DUCATS. Extending his long lean hands from his wide sleeves, the old man began unrolling the packets. There was a gleam of gold. Great as Tchartkóff's terror was, he could not help staring covetously at the coin, and looked on with profound attention as it streamed rapidly through the spectre's bony hands, glittering and clinking with a dull thin metallic sound, and was then rolled up anew. Suddenly he remarked one packet which had rolled a little farther than the rest, and stopped at the leg of the bedstead, near the head. By a rapid and furtive motion he seized this packet, gazing the while at the old man to see whether he remarked it. But he was too busy. He collected the remaining packets, replaced them in the bag, and, without looking at the artist, retired behind the screen. Tchartkóff's heart beat vehemently when he heard his departing footsteps echoing through the room. Congratulating himself on impunity, he joyfully grasped the packet, and had almost ceased to tremble for its safety, when suddenly the footsteps again approached the screen; the old man had evidently discovered that one of his packets was wanting. Nearer he came, and nearer, until once more his grim visage was seen peeping round the screen. In an agony of terror the young man dropped the rouleau, made a desperate effort to stir his limbs, uttered a great cry—and awoke. A cold sweet streamed from every pore; his heart beat so violently that it seemed about to burst; his breast felt as tight as if the last breath were in the act of leaving it. Was it a dream? he said, pressing his head between both hands; the vividness of the apparition made him doubt it. Now, at any rate, he was unquestionably awake, yet he thought he saw the old man moving as he settled himself in his frame, his hand sinking by his side, and the border of his wide robe waving. His own hand retained the sensation of having, but a moment before, held a weighty substance. The moon still shone into the room, bringing out from its dark corners here a canvass, there a lay figure, there again the drapery thrown over a chair, or a plaster cast on its bracket on the wall. Tchartkóff now perceived that he was not in bed, but on his feet, opposite the portrait. How he got there—was a thing he could in no way comprehend. What astounded him still more was the fact that the portrait was completely uncovered. No vestige of a sheet was there, but the living eyes staring fixedly at him. A cold sweat stood upon his brow; he would fain have fled, but his feet were rooted to the ground. And then he saw (of a certainty this was no dream) the old man's features move, and his lips protruded as if about to utter words. With a shrill cry of horror, and a despairing effort, Tchartkóff tore himself from the spot—and awoke. It was still a dream. His heart beat as though it would burst his bosom, but there was no cause for such agitation. He was in bed, in the same attitude as when he fell asleep. Before him was the screen: the chamber was filled with the watery moonbeams. Through the crack in the screen, the portrait was visible, covered with the sheet he had himself laid over it. Although thus convinced of the groundlessness of his alarm, the palpitation of his heart increased in violence, until it became painful and alarming; the oppression on his breast grew more and more severe. He could not detach his eyes from the sheet, and presently he distinctly saw it move, at first gently, then quickly and violently, as though hands were struggling and groping behind it, pulling and tearing, and striving, but in vain, to throw it aside. There was something mysteriously awful in this struggle of an invisible power against so flimsy an obstacle, which it yet was unable to overcome. Tchartkóff felt his very soul chilled with fear. "Great God! what is this?" he cried, crossing himself in an agony of terror. And once more he awoke. For the third time he had dreamed a dream! He sprang from his bed in utter bewilderment, his brain whirling and burning, and at first could not make up his mind whether he had been favoured by a visit from the domovói,[29] or by that of a real apparition.
Approaching the window, he opened the fórtotchka.[30] A sharp frosty breeze brought refreshment to his heated frame. The moon's radiance still lay broadly on the roofs and white walls of the houses, and small floating clouds chased each other across the sky. All was still, save when, from time to time, there fell faintly upon the ear the distant jarring rattle of a lingering drójki, prowling in search of a belated fare. For some time our young painter remained with his his head out of the fórtotchka, and it was not until signs of approaching dawn were visible in the heavens that he closed the pane, threw himself upon his bed, and fell into a deep and dreamless slumber.
It was very late when he awoke with a violent headache. The room felt close; a disagreeable dampness saturated the air, and made its way through the crevices of the windows. Low-spirited, uncomfortable, and cheerless as a drenched cock, he sat down on his dilapidated sofa, and began to recall his dream of the previous night. So vivid was the impression it had made, that he could hardly persuade himself it had been a mere dream. Removing the sheet, he minutely examined the portrait by the light of day. He was still struck with the extraordinary power and expression of the eyes, but he found in them nothing peculiarly terrific. Still an unpleasant impression remained upon his mind. He could not divest himself of the conviction that a fragment of horrible reality had mingled with his dream. In defiance of reason, he imagined something peculiarly significant in the expression of the old man's face; a something of the cautious stealthy look it had worn when he crept round the screen, and counted his gold under the very nose of the needy painter. And Tchartkóff still felt the print of the rouleau upon his palm, as though it had but that instant left his grasp. Had he held it but a little tighter, he thought, it must have remained in his hand even after his awakening.
"Heavens!" he exclaimed, heaving a sorrowful sigh, "had I but the moiety of that wealth!" And again in his mind's eye he saw the rouleaus streaming from the sack. Again he read the attractive inscription,—1000 DUCATS; again they were unrolled, he heard the chink of metal, saw it shine, burned to clutch it. But once more the blue paper was rolled around it; and there he sat, motionless and entranced, straining his eyes upon vacancy, powerless to divert their gaze from the imaginary treasure—like a child gazing with watering mouth at a dish of unattainable sweetmeats.
A knock at the door at last roused him from his reverie. It was promptly followed by the entrance of his landlord, accompanied by the Nadzirátel, or police-inspector of the quarter—a gentleman whose appearance is, if possible, more disagreeable to the poor than the face of a petitioner is to the rich. The landlord of the small house in which Tchartkóff lodged, was no bad type of the class of house-owners in such quarters as the fifteenth line of the Vasílievskü Ostrov. In his youth, he had been a captain in the army, where he was noted as a noisy quarrelsome fellow; transferred thence to the civil service, he proved himself a thorough master of the art of petty tyranny, a bustling coxcomb and a blockhead. Age had done little to improve his character. He had been some time a widower, had long retired from the service, was less given to quarrels and coxcombry, but more trivial and teasing. His chief happiness consisted in drinking tea, propagating scandal, and in sauntering about his apartment, with hands behind his back. These intellectual occupations were varied by an occasional inspection of the roof of his house, by ferreting his dvòrnik, or porter, fifty times a-day out of the kennel in which he oftener slept than watched, and by a monthly attack upon his lodgers for their rent.
"Do me the favour to see about it yourself, Varùkh Kusmìtch," said the landlord, to the Kvartàlnü: "he won't pay his rent—he won't pay, sir."
"How can I, without money? Give me time, and I will pay."