A Brantwood dinner is always ample; there is no asceticism about the place; nor is there any affectation of "intensity" or of conversational cleverness. The neat things you meant to say are forgotten—you must be hardened indeed to say them to Mr. Ruskin's face; but if you were shy, you soon feel that there was no need for shyness; you have fallen among friends; and before dessert comes in, with fine old sherry—the pride of your host, as he explains—you feel that nobody understands you so well, and that all his books are nothing to himself.
They don't sit over their wine, and smoking is not allowed. Ruskin goes off to his study after dinner—it is believed for a nap, for he was at work early and has been out all the afternoon. In the drawing-room you see pictures—water-colours by Turner and Hunt, drawings by Prout and Ruskin, an early Burne-Jones, a sketch in oil by Gainsborough. The furniture is the old mahogany of Mr. Ruskin's childhood, with rare things interspersed—like the cloisonné vases on the mantelpiece.
Soon after nine Ruskin comes in with an armful of things that are going to the Sheffield museum, and while his cousin makes his tea and salted toast, he explains his last acquirements in minerals or missals, eager that you should see the interest of them; or displays the last studies of Mr. Rooke or Mr. Fairfax Murray, copies from Carpaccio or bits of Gothic architecture.
Then, sitting in the chair in which he preached his baby-sermon, he reads aloud a few chapters of Scott or Miss Edgeworth, or, with judicious omissions, one of the older novelists; or translates, with admirable facility, a scene of Scribe or George Sand. When his next work comes out you will recognise this evening's reading in his allusions and quotations, perhaps even in the subjects of his writing, for at this time he is busy on the articles of "Fiction, Fair and Foul."
After the reading, music; a bit of his own composition, "Old Aegina's Rock," or "Cockle-hat and Staff"; his cousin's Scotch ballads or Christy Minstrel songs; and if you can sing a new ditty, fresh from London, now is your chance. You are surprised to see the Prophet clapping his hands to "Camptown Races," or the "Hundred Pipers"—chorus given with the whole strength of the company; but you are in a house of strange meetings.
By about half-past ten his day is over; a busy day, that has left him tired out. You will not easily forget the way he lit his candle—no lamps allowed, and no gas—and gave a last look lovingly at a pet picture or two, slanting his candlestick and shading the light with his hand, before he went slowly upstairs to his own little room, literally lined with the Turner drawings you have read about in "Modern Painters."
You may be waked by a knock at the door, and "Are you looking out?" And pulling up the blind, there is one of our Coniston mornings, with the whole range of mountains in one quiet glow above the cool mist of the valley and lake. Going down at length on a voyage of exploration, and turning in perhaps at the first door, you intrude upon "the Professor" at work in his study, half sitting, half kneeling at his round table in the bay window, with the early cup of coffee, and the cat in his crimson arm-chair. There he has been working since dawn, perhaps, or on dark mornings by candlelight. And he does not seem to mind the interruption; after a welcome he asks you to look round while he finishes his paragraph, and writes away composedly.
A long, low room, evidently two old cottage-rooms thrown into one; papered with a pattern specially copied from Marco Marziale's "Circumcision" in the National Gallery; and hung with Turners. A great early Turner[44] of the Lake of Geneva is over the fireplace. You are tempted to make a mental inventory. Polished steel fender, very unæsthetic; curious shovel—his design, he will stop to remark, and forged by the village smith. Red mahogany furniture, with startling shiny emerald leather chair-cushions; red carpet and green curtains. Most of the room crowded with bookcases and cabinets for minerals. Scales in a glass case; heaps of mineral specimens; books on the floor; rolls of diagrams; early Greek pots from Cyprus; a great litter of things and yet not disorderly nor dusty. "I don't understand," he once said, "why you ladies are always complaining about the dust; my bookcases are never dusty!" The truth being that, though he rose early, the housemaid rose earlier.
Before you have finished your inventory he breaks off work to show you a drawer or two of minerals, fairy-land in a cupboard; or some of his missals, King Hakon's Bible, or the original MS. of the Scott he was reading last night; or, opening a door in a sort of secrétaire, pulls out of their sliding cases frame after frame of Turners—the Bridge of Narni, the Falls of Terni, Florence, or Rome, and many more—to hold in your hand, and take to the light, and look into with a lens—quite a different thing from seeing pictures in a gallery.
At breakfast, when you see the post-bag brought in, you understand why he tries to get his bit of writing done early. The letters and parcels are piled in the study, and after breakfast, at which, as in old times, he reads his last-written passages—how much more interesting they will always look to you in print!—after breakfast he is closeted with an assistant, and they work through the heap. Private friends, known by handwriting, he puts aside; most of the morning will go in answering them. Business he talks over, and gives brief directions. But the bulk of the correspondence is from strangers in all parts of the world—admirers' flattery; students' questions; begging-letters for money, books, influence, advice, autographs, criticism on enclosed MS. or accompanying picture; remonstrance or abuse from dissatisfied readers, or people who object to his method of publication, or wish to convert him to their own religion. And so the heap is gradually cleared, with the help of the waste-paper basket; the secretary's work cut out, his own arranged; and by noon a long row of letters and envelopes have been set out to dry—Mr. Ruskin uses no blotting-paper, and, as he dislikes the vulgar method of fastening envelopes, the secretary's work will be to seal them all with red wax, and the seal with the motto "To-day" cut in the apex of a big specimen of chalcedony.