With a person so constituted, the delicate tastes and sensibilities are like to be indulged in a very high degree. William Edgerton loved music and all the quiet arts. Painting was his particular delight. He himself sketched with great spirit. He had the happy eye for the tout ensemble in a fine landscape. He knew exactly how much to take in and what to leave out, in the delineation of a lovely scene. This is a happy talent for discrimination which the ordinary artist does not possess. It is the capacity which, in the case of orators and poets, informs them of the precise moment when they should stop. It is the happiest sort of judgment, since, though the artist may be neither very excellent in drawing, nor very felicitous in color, it enables him always to bestow a certain propriety on his picture which compensates, to a certain degree, for inferiority in other respects. To know how to grasp objects with spirit, and bestow them with a due regard to mutual dependence, is one of the most exquisite faculties of the landscape-painter.
William Edgerton, had he been forced by necessity to have made the art of painting his profession would have made for himself a reputation of no inferior kind. But amateur art, like amateur literature, rarely produces any admirable fruits. Complete success only attends the devotee to the muse. The worship must be exclusive at her altar; the attendance constant and unremitting. There must be no partial, no divided homage. She is a jealous mistress, like all the rest. The lover of her charms, if he would secure her smiles, must be a professor at her shrine. He can not come and go at pleasure. She resents such impertinence by neglect. In plain terms, the fine arts must be made a business by those who desire their favor. Like law, divinity, physic, they constitute a profession of their own; require the same diligent endeavor, close study, fond pursuit! William Edgerton loved painting, but his business was the law. He loved painting too much to love his profession. He gave too much of his time to the law to be a successful painter—too much time to painting to be a lawyer. He was nothing! At the bar he never rose a step after the first day, when, together, we appeared in our mutual maiden case; and contenting himself with the occasional execution of a landscape, sketchy and bold, but without finish, he remained in that nether-land of public consideration, unable to grasp the certainties of either pursuit at which he nevertheless was constantly striving; striving, however, with that qualified degree of effort, which, if it never could secure the prize, never could fatigue him much with the endeavor to do so.
He was perfectly delighted when he first saw some of the sketches of my wife. He had none of that little jealousy which so frequently impairs the temper and the worth of amateurs. He could admire without prejudice, and praise without reserve. He praised them. He evidently admired them. He sought every occasion to see them, and omitted none in which to declare his opinion of their merits. This, in the first pleasant season of my marriage—when the leaves were yet green and fresh upon the tree of love—was grateful to my feelings. I felt happy to discover that my judgment had not erred in the selection of my wife. I stimulated her industry that I might listen to my friend's eulogy. I suggested subjects for her pencil. I fitted up an apartment especially as a studio for her use. I bought her some fine studies, lay figures, heads in marble and plaster; and lavished, in this way, the small surplus fund which had heretofore accrued from my professional industry, and that personal frugality with which it was accompanied.
William Edgerton was now for ever at our house. He brought his own pictures for the inspection of my wife. He sometimes painted in her studio. He devised rural and aquatic parties with sole reference to landscape scenery and delineation; and indifferent to the law always, he now abandoned himself almost entirely to those tastes which seemed to have acquired of a sudden, the strangest and the strongest impulse.
In this—at least for a considerable space of time—I saw nothing very remarkable. I knew his tastes previously. I had seen how little disposed he was to grapple earnestly with the duties of his profession; and did not conceive it surprising, that, with family resources sufficient to yield him pecuniary independence, he should surrender himself up to the luxurious influence of tastes which were equally lovely in themselves, and natural to the first desires of his mind. But when for days he was missed from his office—when the very hours of morning which are most religiously devoted by the profession to its ostensible if not earnest pursuit, were yielded up to the easel—and when, overlooking the boundaries which, according to the conventional usage, made such a course improper, he passed many of these mornings at my house, during my absence, I began to entertain feelings of disquietude.
For these I had then no name. The feelings were vague and indefinable, but not the less unpleasant. I did not fancy for a moment that I was wronged, or likely to be wronged, but I felt that he was doing wrong. Then, too, I had my misgivings of what the world would think! I did not fancy that he had any design to wrong me; but there seemed to me a cruel want of consideration in his conduct. But what annoyed me most was, that Julia should receive him at such periods He was thoughtless, enthusiastic in art, and thoughtless, perhaps, in consequence of his enthusiasm. But I expected that she should think for both of us in such a case. Women, alone, can be the true guardians of appearances where they themselves are concerned; and it was matter of painful surprise to me that she should not have asked herself the question: “What will the neighbors think, during my husband's absence, to see a stranger, a young man, coming to visit me with periodical regularity, morning after morning?”
That she did not ask herself this question should have been a very strong argument to show me that her thoughts were all innocent. But there is a terrible truth in what Caesar said of his wife's reputation: “She must be free from suspicion.” She must not only do nothing wrong, but she must not suffer or do anything which might incur the suspicion of wrong doing. There is nothing half so sensible to the breath of calumny, as female reputation, particularly in regions of high civilization, where women are raised to an artificial rank of respect, which obviates, in most part, the obligations of their dependence upon man, but increases, in due proportion, some of their responsibilities to him. Poor Julia had no circumspection, because she had no feeling of evil. I believe she was purity itself; I equally believe that William Edgerton was quite incapable of evil design. But when I came from my office, the first morning that he had thus passed at my house in my absence, and she told me that he had been there, and how the time had been spent, I felt a pang, like a sharp arrow, suddenly rush into my brain. Julia had no reserve in telling me this fact. It was a subject she seemed pleased to dwell upon. She narrated with the earnest, unseeing spirit of a self-satisfied child, the sort of conversation which had taken place between them—praised Edgerton's taste, his delicacy, his subdued, persuasive manners, and showed herself as utterly unsophisticated as any Swiss mountain-girl who voluntarily yields the traveller a kiss, and tells her mother of it afterward. I listened with chilled manners and a troubled mind.
“You are unwell, Edward,” she remarked tenderly, approaching and throwing her arms around my neck, as she perceived the gradual gathering of that cloud upon my brows.
“Why do you think so, Julia?”
“Oh, you look so sad—almost severe, Edward, and your words are so few and cold. Have I offended you, dear Edward?”