Short Fiction by O. Henry (librera reader txt) 📕

of satisfaction while Phillips brought the coffee and cigars and cleared the table.

“Did you ever hear of Sherrard Plumer?” he asked, with a strange smile.

“I remember the name,” said Chalmers. “He was a painter, I think, of a good deal of prominence a few years ago.”

“Five years,” said the guest. “Then I went down like a chunk of lead. I’m Sherrard Plumer! I sold the last portrait I painted for $2,000. After that I couldn’t have found a sitter for a gratis picture.”

“What was the trouble?” Chalmers could not resist asking.

“Funny thing,” answered Plumer, grimly. “Never quite understood it myself. For a while I swam like a cork. I broke into the swell crowd and got commissions right and left. The newspapers called me a fashionable painter. Then the funny things began to happen. Whenever I finished a picture people would come to see it, and whisper and look queerly at one another.”

“I soon found out what the trouble was. I had a knack of bringing out in the face of a portrait the hidden character of the original. I don’t know how I did it⁠—I painted what I saw⁠—but I know it did me. Some of my sitters were fearfully enraged and refused their pictures. I painted the portrait of a very beautiful and popular society dame. When it was finished her husband looked at it with a peculiar expression on his face, and the next week he sued for divorce.”

“I remember one case of a prominent banker who sat to me. While I had his portrait on exhibition in my studio an acquaintance of his came in to look at it. ‘Bless me,’ says he, ‘does he really look like that?’ I told him it was considered a faithful likeness. ‘I never noticed that expression about his eyes before,’ said he; ‘I think I’ll drop downtown and change my bank account.’ He did drop down, but the bank account was gone and so was Mr. Banker.

“It wasn’t long till they put me out of business. People don’t want their secret meannesses shown up in a picture. They can smile and twist their own faces and deceive you, but the picture can’t. I couldn’t get an order for another picture, and I had to give up. I worked as a newspaper artist for a while, and then for a lithographer, but my work with them got me into the same trouble. If I drew from a photograph my drawing showed up characteristics and expressions that you couldn’t find in the photo, but I guess they were in the original, all right. The customers raised lively rows, especially the women, and I never could hold a job long. So I began to rest my weary head upon the breast of Old Booze for comfort. And pretty soon I was in the free-bed line and doing oral fiction for handouts among the food bazaars. Does the truthful statement weary thee, O Caliph? I can turn on the Wall Street disaster stop if you prefer, but that requires a tear, and I’m afraid I can’t hustle one up after that good dinner.”

“No, no,” said Chalmers, earnestly, “you interest me very much. Did all of your portraits reveal some unpleasant trait, or were there some that did not suffer from the ordeal of your peculiar brush?”

“Some? Yes,” said Plumer. “Children generally, a good many women and a sufficient number of men. All people aren’t bad, you know. When they were all right the pictures were all right. As I said, I don’t explain it, but I’m telling you facts.”

On Chalmers’s writing-table lay the photograph that he had received that day in the foreign mail. Ten minutes later he had Plumer at work making a sketch from it in pastels. At the end of an hour the artist rose and stretched wearily.

“It’s done,” he yawned. “You’ll excuse me for being so long. I got interested in the job. Lordy! but I’m tired. No bed last night, you know. Guess it’ll have to be good night now, O Commander of the Faithful!”

Chalmers went as far as the door with him and slipped some bills into his hand.

“Oh! I’ll take ’em,” said Plumer. “All that’s included in the fall. Thanks. And for the very good dinner. I shall sleep on feathers tonight and dream of Bagdad. I hope it won’t turn out to be a dream in the morning. Farewell, most excellent Caliph!”

Again Chalmers paced restlessly upon his rug. But his beat lay as far from the table whereon lay the pastel sketch as the room would permit. Twice, thrice, he tried to approach it, but failed. He could see the dun and gold and brown of the colors, but there was a wall about it built by his fears that kept him at a distance. He sat down and tried to calm himself. He sprang up and rang for Phillips.

“There is a young artist in this building,” he said. “⁠—a Mr. Reineman⁠—do you know which is his apartment?”

“Top floor, front, sir,” said Phillips.

“Go up and ask him to favor me with his presence here for a few minutes.”

Reineman came at once. Chalmers introduced himself.

“Mr. Reineman,” said he, “there is a little pastel sketch on yonder table. I would be glad if you will give me your opinion of it as to its artistic merits and as a picture.”

The young artist advanced to the table and took up the sketch. Chalmers half turned away, leaning upon the back of a chair.

“How⁠—do⁠—you find it?” he asked, slowly.

“As a drawing,” said the artist, “I can’t praise it enough. It’s the work of a master⁠—bold and fine and true. It puzzles me a little; I haven’t seen any pastel work near as good in years.”

“The face, man⁠—the subject⁠—the original⁠—what would you say of that?”

“The face,” said Reineman, “is the face of one of God’s own angels. May I ask who⁠—”

“My wife!” shouted Chalmers, wheeling and pouncing upon the astonished artist, gripping his hand and pounding his back. “She is traveling in Europe.