The Bride of Lammermoor (Unabridged). Walter Scott
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like the animal called the sloth, which, heaving eaten up the last green leaf upon the tree where it has established itself, ends by tumbling down from the top, and dying of inanition. I ventured to hint this to Dick, recommended his transferring the exercise of his inestimable talent to some other sphere, and forsaking the common which he might be said to have eaten bare.
"There is an obstacle to my change of residence," said my friend, grasping my hand with a look of solemnity.
"A bill due to my landlord, I am afraid?" replied I, with heartfelt sympathy; "if any part of my slender means can assist in this emergence——"
"No, by the soul of Sir Joshua!" answered the generous youth, "I will never involve a friend in the consequences of my own misfortune. There is a mode by which I can regain my liberty; and to creep even through a common sewer is better than to remain in prison."
I did not perfectly understand what my friend meant. The muse of painting appeared to have failed him, and what other goddess he could invoke in his distress was a mystery to me. We parted, however, without further explanation, and I did not see him until three days after, when he summoned me to partake of the "foy" with which his landlord proposed to regale him ere his departure for Edinburgh.
I found Dick in high spirits, whistling while he buckled the small knapsack which contained his colours, brushes, pallets, and clean shirt. That he parted on the best terms with mine host was obvious from the cold beef set forth in the low parlour, flanked by two mugs of admirable brown stout; and I own my curiosity was excited concerning the means through which the face of my friend's affairs had been so suddenly improved. I did not suspect Dick of dealing with the devil, and by what earthly means he had extricated himself thus happily I was at a total loss to conjecture.
He perceived my curiosity, and took me by the hand. "My friend," he said, "fain would I conceal, even from you, the degradation to which it has been necessary to submit, in order to accomplish an honourable retreat from Gandercleaugh. But what avails attempting to conceal that which must needs betray itself even by its superior excellence? All the village—all the parish—all the world—will soon discover to what poverty has reduced Richard Tinto."
A sudden thought here struck me. I had observed that our landlord wore, on that memorable morning, a pair of bran new velveteens instead of his ancient thicksets.
"What," said I, drawing my right hand, with the forefinger and thumb pressed together, nimbly from my right haunch to my left shoulder, "you have condescended to resume the paternal arts to which you were first bred—long stitches, ha, Dick?"
He repelled this unlucky conjecture with a frown and a pshaw, indicative of indignant contempt, and leading me into another room, showed me, resting against the wall, the majestic head of Sir William Wallace, grim as when severed from the trunk by the orders of the Edward.
The painting was executed on boards of a substantial thickness, and the top decorated with irons, for suspending the honoured effigy upon a signpost.
"There," he said, "my friend, stands the honour of Scotland, and my shame; yet not so—rather the shame of those who, instead of encouraging art in its proper sphere, reduce it to these unbecoming and unworthy extremities."
I endeavoured to smooth the ruffled feelings of my misused and indignant friend. I reminded him that he ought not, like the stag in the fable, to despise the quality which had extricated him from difficulties, in which his talents, as a portrait or landscape painter, had been found unavailing. Above all, I praised the execution, as well as conception, of his painting, and reminded him that, far from feeling dishonoured by so superb a specimen of his talents being exposed to the general view of the public, he ought rather to congratulate himself upon the augmentation of his celebrity to which its public exhibition must necessarily give rise.
"You are right, my friend—you are right," replied poor Dick, his eye kindling with enthusiasm; "why should I shun the name of an—an—(he hesitated for a phrase)—an out-of-doors artist? Hogarth has introduced himself in that character in one of his best engravings; Domenichino, or somebody else, in ancient times, Morland in our own, have exercised their talents in this manner. And wherefore limit to the rich and higher classes alone the delight which the exhibition of works of art is calculated to inspire into all classes? Statues are placed in the open air, why should Painting be more niggardly in displaying her masterpieces than her sister Sculpture? And yet, my friend, we must part suddenly; the carpenter is coming in an hour to put up the—the emblem; and truly, with all my philosophy, and your consolatory encouragement to boot, I would rather wish to leave Gandercleugh before that operation commences."
We partook of our genial host's parting banquet, and I escorted Dick on his walk to Edinburgh. We parted about a mile from the village, just as we heard the distant cheer of the boys which accompanied the mounting of the new symbol of the Wallace Head. Dick Tinto mended his pace to get out of hearing, so little had either early practice or recent philosophy reconciled him to the character of a sign-painter.
In Edinburgh, Dick's talents were discovered and appreciated, and he received dinners and hints from several distinguished judges of the fine arts. But these gentlemen dispensed their criticism more willingly than their cash, and Dick thought he needed cash more than criticism. He therefore sought London, the universal mart of talent, and where, as is usual in general marts of most descriptions, much more of each commodity is exposed to sale than can ever find purchasers.
Dick, who, in serious earnest, was supposed to have considerable natural talents for his profession, and whose vain and sanguine disposition never permitted him to doubt for a moment of ultimate success, threw himself headlong into the crowd which jostled and struggled for notice and preferment. He elbowed others, and was elbowed himself; and finally, by dint of intrepidity, fought his way into some notice, painted for the prize at the Institution, had pictures at the exhibition at Somerset House, and damned the hanging committee. But poor Dick was doomed to lose the field he fought so gallantly. In the fine arts, there is scarce an alternative betwixt distinguished success and absolute failure; and as Dick's zeal and industry were unable to ensure the first, he fell into the distresses which, in his condition, were the natural consequences of the latter alternative. He was for a time patronised by one or two of those judicious persons who make a virtue of being singular, and of pitching their own opinions against those of the world in matters of taste and criticism. But they soon tired of poor Tinto, and laid him down as a load, upon the principle on which a spoilt child throws away its plaything. Misery, I fear, took him up, and accompanied him to a premature grave, to which he was carried from an obscure lodging in Swallow Street, where he had been dunned by his landlady within doors, and watched by bailiffs without, until death came to his relief. A corner of the Morning Post noticed his death, generously adding, that his manner displayed considerable genius, though his style was rather sketchy; and referred to an advertisement, which announced that Mr. Varnish, a well-known printseller, had still on hand a very few drawings and painings by Richard Tinto, Esquire, which those of the nobility and gentry who might wish to complete their collections of modern art were invited to visit without delay. So ended Dick Tinto! a lamentable proof of the great truth, that in the fine arts mediocrity is not permitted, and that he who cannot ascend to the very top of the ladder will do well not to put his foot upon it at all.
The memory of Tinto is dear to me, from the recollection of the many conversations which we have had together, most of them turning upon my present task. He was delighted with my progress, and talked of an ornamented and illustrated edition, with heads, vignettes, and culs de lampe, all to be designed by his own patriotic and friendly pencil. He prevailed upon an old sergeant of invalids to sit to him in the character of Bothwell, the lifeguard's-man of Charles the Second, and the bellman of Gandercleugh in that of David Deans. But while he thus proposed to unite his own powers with mine for the illustration of these narratives, he mixed many a dose of salutary criticism with the panegyrics which my composition was at times so fortunate as to call forth.
"Your characters," he said, "my dear Pattieson, make too much use of the gob box; they patter too much (an elegant phraseology which Dick had learned while painting the scenes of an itinerant company of players); there is nothing in whole pages but mere chat and dialogue."
"The ancient philosopher," said I in