The Lovels of Arden by Mary Elizabeth Braddon (ebook offline reader txt) 📕

the Bore de Boulong were a poor place in those days to what it is now."

Clarissa took a couple of turns along one of the walks with Mrs. Brobson, and then, as they were going back towards the gate, she said, as carelessly as she could manage to say: "There is a person living somewhere near here whom I want to see, Mrs. Brobson. I'll leave you and baby in the gardens for half an hour or so, while I go and pay my visit."

Mrs. Brobson stared. It was not an hour in the day when any lady she had ever served was wont to pay visits; and that Mrs. Granger of Arden Court should traverse a neighbourhood of narrow streets and tall houses, on foot and alone, to call upon her acquaintance at eleven o'clock in the morning, seemed to her altogether inexplicable.

"You'll take the carriage, won't you, ma'am?" she said, with undisguised astonishment.

"No, I shall not want the carriage; it's very near. Be sure you keep baby warm, Mrs. Brobson."

Clarissa hurried out into the street. The landau, with its pair of Yorkshire-bred horses, was moving slowly up and down, to the admiration of juvenile Paris, which looked upon Mr. Granger's deep-chested, strong-limbed bays almost as a new order in the animal creation. Mrs. Granger felt that the eyes of coachman and footman were upon her as she turned the first corner, thinking of nothing for the moment, but how to escape the watchfulness of her own servants. She walked a little way down the street, and then asked a sleepy-looking waiter, who was sweeping the threshold of a very dingy restaurant, to direct her to the Rue du Chevalier Bayard. It was _tous près_, the man said; only a turn to the right, at that corner yonder, and the next turning was the street she wanted. She thanked him, and hurried on, with her heart beating faster at every step. Austin might be out, she thought, and her trouble wasted; and there was no knowing when she might have another opportunity. Even if he were at home, their interview must needs be brief: there was the nurse waiting and wondering; the baby exposed to possible peril from east winds.

The Rue du Chevalier Bayard was a street of tall gaunt houses that had seen better days--houses with _porte-cochères_, exaggerated iron knockers, and queer old lamps; dreary balconies on the first floor, with here and there a plaster vase containing some withered member of the palm tribe, or a faded orange-tree; everywhere and in everything an air of dilapidation and decay; faded curtains, that had once been fine, flapping in the open windows; Venetian shutters going to ruin; and the only glimpse of brightness or domestic comfort confined to the humble parlour of the portress, who kept watch and ward over one of the dismal mansions, and who had a birdcage hanging in her window, an Angora cat sunning itself on the stone sill, and a row of scarlet geraniums in the little iron balcony.

But this model portress did not preside over the house inhabited by Austin Lovel. There Clarissa found only a little deaf old man, who grinned and shook his head helplessly when she questioned him, and shrugged his shoulders and pointed to the staircase--a cavernous stone staircase, with an odour as of newly opened graves. She went up to the first-floor, past the _entresol_, where the earthy odour was subjugated by a powerful smell of cooking, in which garlic was the prevailing feature. One tall door on the first-floor was painted a pale pink, and had still some dingy indications of former gilding upon its mouldings. On this pink door was inscribed the name of Mr. Austin, Painter.

Clarissa rang a bell, and a tawdry-looking French servant, with big earrings and a dirty muslin cap, came to answer her summons. Mr. Austin was at home; would madame please to enter. Madame, having replied in the affirmative, was shown into a small sitting-room, furnished with a heterogeneous collection of cabinets, tables, and sofas, every one of which bore the stamp of the broker's shop--things which had been graceful and pretty in their day, but from which the ormolu-moulding had been knocked off here, and the inlaid-wood chipped away there, and the tortoiseshell cracked in another place, until they seemed the very emblems of decay. It was as if they had been set up as perpetual monitors--monuments of man's fragility. "This is what life comes to," they said in their silent fashion. This faded rubbish in buhl and marqueterie was useful enough to Mr. Lovel, however; and on his canvas the faded furniture glowed and sparkled with all its original brightness, fresh as the still-life of Meissonier. There were a child's toys scattered on the floor; and Clarissa heard a woman's voice talking to a child in an adjoining room, on the other side of a pair of tall pink folding-doors. Then she heard her brother's voice saying something to the servant; and at the sound she felt as if she must have fallen to the ground. Then one of the doors was opened, and a woman came in; a pretty, faded-looking woman, dressed in a light-blue morning wrapper that might very well have been cleaner; a woman with a great deal of dyed hair in an untidy mass at the back of her head; a woman whom Clarissa felt it must be a difficult thing to like.

This was her brother's wife, of course. There was a boy of four or five years old clinging to his mother's gown, and Clarissa's heart yearned to the child. He had Austin's face. It would be easy to love _him_, she thought.

"Mr. Austin is in his paintin'-room, madame," said the wife, putting on a kind of company manner. "Did you wish to see him about a picture? Je parle très poo de Français, mais si----"

"I am English," Clarissa answered, smiling; "if you will kindly tell Mr. Austin a lady from England wishes to see him. What a, dear little boy! May I shake hands with him?"

"Give the lady your hand, Henery," said the mother. "Not that one," as the boy, after the invariable custom of childhood, offered his left--"the right hand."

Clarissa took the sticky little paw tenderly in her pearl-gray glove. To think that her brother Austin Lovel should have married a woman who could call her son "Henery," and who had such an unmistakable air of commonness!

The wife went back to the painting-room; and returned the next minute to beg the visitor to "step this way, if you please, ma'am." She opened one of the folding-doors wide as she spoke, and Clarissa went into a large room, at the other end of which there stood a tall slim young man, in a short velvet coat, before a small easel.

It was her brother Austin; pale and a trifle haggard, too old in looks for his years, but very handsome--a masculine edition of Clarissa herself, in fact: the same delicate clearly-cut features, the same dark hazel eyes, shaded by long brown lashes tinged with gold. This was what Mrs. Granger saw in the broad noonday sunshine; while the painter, looking up from his easel, beheld a radiant creature approaching him, a woman in pale-gray silk, that it would have been rapture to paint; a woman with one of the loveliest faces he had ever seen, crowned with a broad plait of dark-brown hair, and some delicate structure of point-lace and pink roses, called by courtesy a bonnet.

He laid down his mahl-stick, and came to meet her, with a puzzled look on his face. Her beauty seemed familiar to him somehow, and yet he had no recollection of ever having seen her before. He saw the faded counterpart of that bright face every morning in his looking-glass.

She held out both her hands.

"Austin, don't you know me?"

He gave a cry of pleased surprise, and caught her in his arms.

"Clarissa!" he exclaimed; "why, my darling, how lovely you have grown! My dear little Clary! How well I remember the sweet young face, and the tears, and kisses, and the slender little figure in its childish dress, that day your father carried you off to school! My own little Clary, what a happiness to see you! But you never told me you were coming to Paris."

"No, dear, I kept that for a surprise. And are you really glad to see me, Austin?"

"Really glad! Is there any one in the world could make me gladder?"

"I am so happy to hear that. I was almost afraid you had half forgotten me. Your letters were so few, and so short."

"Letters!" cried Austin Lovel, with a laugh; "I never was much of a hand at letter-writing; and then I hadn't anything particularly pleasant to write about. You mustn't gauge my affection by the length of my letters, Clary. And then I have to work deucedly hard when I am at home, and have very little time for scribbling."

Clarissa glanced round the room while he was speaking. Every detail in her brother's surroundings had an interest for her. Here, as in the drawing-room, there was an untidy air about everything--a want of harmony in all the arrangements. There were Flemish carved-oak cabinets, and big Japan vases; a mantelpiece draped with dusty crimson velvet, a broken Venetian glass above it, and a group of rusty-looking arms on each side; long limp amber curtains to the three tall windows, with festooned valances in an advanced state of disarrangement and dilapidation. There were some logs burning on the hearth, a pot of chocolate simmering among the ashes, and breakfast laid for one person upon a little table by the fire--the remnant of a perigord pie, flanked by a stone bottle of curaçoa.

She looked at her brother with anxious scrutinising eyes. No, George Fairfax had not deceived her. He had the look of a man who was going the wrong way. There were premature lines across the forehead, and about the dark brilliant eyes; a nervous expression in the contracted lips. It was the face of a man who burns the candle of life at both ends. Late hours, anxiety, dissipation of all kinds, had set their fatal seal upon his countenance.

"Dear Austin, you are as handsome as ever; but I don't think you are looking well," she said tenderly.

"Don't look so alarmed, my dear girl," he answered lightly; "I am well enough; that is to say, I am never ill, never knock under, or strike work. There are men who go through life like that--never ill, and never exactly well. I rarely get up in the morning without a headache; but I generally brighten considerably as the sun goes down. We move with a contrary motion, Helios and I."

"I am afraid you work too hard, and sit up too late."

"As to working hard, my dear, that is a necessity; and going out every night is another necessity. I get my commissions in society."

"But you must have a reputation by this time, Austin; and commissions would come to you, I should think, without your courting them."

"No, child; I have only a reputation _de salon_, I am only known in a certain set. And a man must live, you see. To a man himself that is the primary necessity. Your _generosity_ set me on my legs last year, and tempted me to take this floor, and make a slight advance movement altogether. I thought better rooms would bring me better work--sitters for a new style of cabinet-portraits, and so on. But so far the rooms have been comparatively a useless extravagance. However, I go