A Houseful of Girls by Sarah Tytler (simple ebook reader .txt) 📕

go to the class to-morrow morning," predicted the slashing critic, "you may depend upon it you will be turned back to a course of free-hand, or to copying from the round again. I don't mean that Mr. St. Foy will be as plain-spoken as I have been; he is a great deal too much afraid of hurting your feelings and his own, and of losing a pupil, though he is not what I should call either a bad man or a bad teacher. He is just like the rest; but wait and see if he does not politely turn you back to very nearly the beginning."

"I have had good teachers before," said Rose, crumpling up her nose and her forehead tightly, and swelling a little with wounded self-respect as well as wounded vanity. "It is queer, to say the least, if all my teachers were in a conspiracy to push me on to what I was not fit for, and to give me work altogether beyond my powers."

"You asked my opinion," said Hester Jennings,[191] with inflexible calmness, "and I am not surprised that you do not like it when you have got it—few people do. The truth is not generally palatable. Not that I go in for infallibility of judgment. Wait and see what Mr. St. Foy does—not says—to-morrow."

"But why were the others—one of them an exhibitor at the Academy and the Grosvenor—so much mistaken?" inquired Rose, with natural indignation.

"How can I tell? But I hope you do not imagine that exhibitors are necessarily geniuses, or not as other men, or that they must be able to do a little bit of tolerable teaching when it pays them to condescend to it? Mr. St. Foy never exhibits—very likely for the good reason that his pictures are not accepted; but it does not follow on that account that he cannot paint a fairly good picture—better even than some which are hung on the line—and teach very tolerably to boot."

This was a new, bewildering doctrine, and a thoroughly disheartening state of matters, to which Rose, extinguished as she was on her own merits, did not make any reply.

"What I think, if you care to hear further what I think," said Hester, with a dry smile, "is that in not taking time and in being wild to paint a complete picture—something which everybody[192] could recognize as a picture, and your friends admire—as if such a thing can be done to any good purpose for years and years—you have fallen into the disastrous habit of forgetting, or of only half remembering, what you learnt before, as you went on learning more. At least, that is the only way in which I can account for the wretchedness of some of your drawing, and the badness of your perspective, when you have got so far as to have a feeling for a scale of colour and the tone of a picture."

"Well, I suppose I can learn it all over again," said Rose, with a mixture of spirit and doggedness, forcing herself not to betray further resentment, and to swallow a little girlish weakness at the uncompromising treatment she was receiving. What would May and Dora say? But she durst not trust herself to think of them.

"Of course," answered Hester, opening widely a pair of singularly clear keen eyes. "Do you think I should have taken the trouble to say as much if I had thought otherwise?"

It was the one dubious compliment which Rose extracted, without meaning it, from the fault-finder.

Hester's openly expressed desire was to be an artist out and out, to live like an artist, not to be troubled with the hindrances and petty restrictions[193] of an ordinary woman's life, which she was tempted to despise, to which, if she yielded at all in her mother's house, it was with scarcely concealed reluctance and aversion. Very likely she had only the most one-sided conception of the life she would have chosen. Certainly her notions of Bohemianism were about as ingenuous as "little May's" might have been; to go where art called her, to do what art demanded of her, to be art's humble, diligent, faithful servant all her days, without being held back and fettered on every hand by set meals, obtrusive servants, changes of dress, the obligation to pay and receive visits. The dream of her life was to get to Paris and have lessons in one of the French studios, where she was led to believe women have as good a chance of being well taught as men possess. She would prefer to live with some young women students like herself en fille—a modified—much modified version of en garçon. They would hire an étage in some cheap, convenient quarter, get the wife or daughter of the conciergerie to prepare breakfast and supper for them, dine at one of Duval's restaurants work all day, and sleep the sleep of the labouring woman at night. She said she knew quite well how such artists were considered in Paris, that they were regarded as vauriennes, to whom there was no occasion to pay the respect and consideration[194] which were reserved for the potent mesdames and the jeunes filles ingénues of society. But what had she to do with society? She belonged to the great republic of art, and had infinitely more to occupy her than to listen for what society would say. As to not being able to take care of herself and behave so that the slightest indignity to her would never be ventured upon, the bare mention of such a possibility was received by Hester with a wrath which bordered on fierceness, and for the most part silenced her opponents effectually. Any displeasure which Annie Millar had displayed on a similar supposition was mild by comparison.

Hester was not an only child. Mrs. Jennings had sons, all in the army or navy, the mother was proud to say; but none of them in those days of competitive examinations and expensive living was high enough up in the service to be able to help his mother. On the contrary, grown men, with men's callings, as they were, they found themselves under the necessity of taking help from her. There were also other daughters besides Hester married to men in professions as unexceptionable as those of their brothers-in-law, but neither were they in circumstances which could make them feel justified in granting the smallest subsidy to Mrs. Jennings. Only Hester toiled for her mother at every moment which she could take from her[195] studies and her natural rest. Yet the two women, who had dwelt under the same roof since Hester's babyhood, who were united by the strongest and most sacred tie, were without one taste in common, were irreconcilably different in every mode of thought and impulse of feeling, were only alike in each being well-intentioned and desirous of fulfilling her intuitions and justifying her beliefs. Being wise, the pair agreed to differ. But oh! the pity of it where aims, ideals and standards, hopes and fears, were all equally wide apart.

Mrs. Jennings did not interfere with Hester's freedom farther than she could help. Hester had her own engagements, her own circle of friends.

It may not surprise those who are acquainted with the various versions of Hester Jennings to be met with in this generation, that she was a red-hot radical in contrast to her mother's conservatism—well-nigh a communiste, to whom woman's rights and wrongs meant a burning question of the day, which, next to her love of art, came very near to her heart. She was almost powerless to assist her sister women, so overworked was she on her own account, but whenever she could snatch a moment half a dozen clubs and societies claimed her for their own. She had really a wide personal knowledge of the working-women of London, employed and unemployed.

[196]

CHAPTER XIII. MR. ST. FOY'S AND THE MISSES STONE'S.

There was a second and large portion of Rose's life which belonged to her art classes, and to the classes in which she was one of the teachers and not one of the taught. In the art classes Hester Jennings's influence still dominated over Rose. In spite of Mr. St. Foy's professional qualifications, for which Hester had vouched, he had not so potent a personality as that possessed by one of his favourite pupils. He was tall, thin, gentleman-like, and delicate-looking, with a habit of languidly winking his eyes every second or two, as if they were weary of the trying sights of this world. He was kind to Rose in his courteous way, but she would not have been certain either of his ability to judge her work or of his honest opinion of it, if it had not been for what Hester told her.

There were fifty pupils among whom she and Hester ranked. These occupied the desks, worked[197] at the easels, copied from copies, from the round or—height of promotion—from well-known models attached to the institution. There was the old market woman who obligingly sat alike for wicked old hags and doting grandmothers. There was the athletic young porter, off duty, who was a brigand or a pilot as occasion served.

The pupils were of various styles, idle and chattering, picturesque and sentimental, industrious, commonplace, but the most of them were variations on that last accepted version of the lady artist—the individual girl who aims at being independent and natural to the verge of harmless lawlessness and Philistinism—strange reaction from æstheticism. There were many Hester Jennings's though none so pronounced as Hester.

The Misses Stone's select boarding-school carried Rose twice a week into another region, where the wind did not blow so freely and the air was a trifle stifling. Sometimes she wondered if the Misses Stone knew the tone of a large proportion of the young lady artists at Mr. St. Foy's classes—not that Rose herself could see anything absolutely wrong in it—whether they would care to have an assistant drawing-mistress from those half-emancipated, more than half insubordinate ranks. However, Rose's appointment was not in any great danger of being cancelled. She had involuntarily[198] become doubly careful in her dress and demeanour lately, and she discovered that the Misses Stone were old and intimate friends of Mrs. Jennings, whom they pitied sincerely for having so troublesome a daughter.

At first Rose did not dislike the office of teacher, which brought her in a little income before she was out of her teens. The whole place reminded her pleasantly of Miss Burridge's school which she had quitted but recently, only instead of having a metropolitan superiority in enlightenment and progress, strange to say, the Misses Stone's establishment, as if drawing within itself and shrinking back from the constantly moving, restlessly advancing world around, was really older-fashioned, less in the van of public opinion than the school at Redcross. The Misses Stone, their teachers and pupils, were well-bred, and what might have been called in past days "prettily behaved," though the behaviour was a little formal. Women and girls were elegantly accomplished, in place of being solidly informed or scientifically crammed, in accordance with the fashion of the nineteenth century. Above all, they declined with a gentle unconquerable doggedness to be turned from the even tenor of their ways. Italian was still largely taught in the school, while only a fraction of the pupils learnt German. Latin had no standing ground save in[199] the derivation of words, Greek was unknown. The word mathematics was not mentioned. The voice of the drill-sergeant was not heard, but the dancing-master with his kit attended twice a week, like Rose, all the year round. The harp was played by the pupils instead of the violin. Withal there was much careful learning and repeating of Sunday Collects and the Church Catechism.

The school found ample support. What it attempted to do was in the main well done. Undoubtedly there was an attraction, half-graceful, half-quaint, in all connected with it, from the gentle manners of the elderly Misses Stone, who were only bitter against what was bold, impertinent, and eccentric, to the most dainty of their small pupils. Strictly conservative people felt that their daughters were safe in such an atmosphere, and patronized it accordingly. Undoubtedly they learnt a good deal which was worth learning.

Rose began by receiving nothing save the most considerate kindness and approval in that house. It was a libel on its forms and ceremonies to imagine that they contained anything tyrannical and harsh in their essence. The very law of their being was amiability, combined with mild steadfastness in withstanding the subversive attitude of the time. The most highly-born, richly-endowed girl within the precincts—and the school was rather[200] aristocratic—would no more have ventured on being rude to Miss Rose Millar, the junior drawing-mistress, than the girl would