Of Human Bondage by W. Somerset Maugham (classic english novels .TXT) 📕

an easel where she indicated, and Mrs. Otter introduced him to a young woman who sat next to him.

“Mr. Carey⁠—Miss Price. Mr. Carey’s never studied before, you won’t mind helping him a little just at first will you?” Then she turned to the model. “La Pose.”

The model threw aside the paper she had been reading, La Petite Republique, and sulkily, throwing off her gown, got on to the stand. She stood, squarely on both feet with her hands clasped behind her head.

“It’s a stupid pose,” said Miss Price. “I can’t imagine why they chose it.”

When Philip entered, the people in the studio had looked at him curiously, and the model gave him an indifferent glance, but now they ceased to pay attention to him. Philip, with his beautiful sheet of paper in front of him, stared awkwardly at the model. He did not know how to begin. He had never seen a naked woman before. She was not young and her breasts were shrivelled. She had colourless, fair hair that fell over her forehead untidily, and her face was covered with large freckles. He glanced at Miss Price’s work. She had only been working on it two days, and it looked as though she had had trouble; her paper was in a mess from constant rubbing out, and to Philip’s eyes the figure looked strangely distorted.

“I should have thought I could do as well as that,” he said to himself.

He began on the head, thinking that he would work slowly downwards, but, he could not understand why, he found it infinitely more difficult to draw a head from the model than to draw one from his imagination. He got into difficulties. He glanced at Miss Price. She was working with vehement gravity. Her brow was wrinkled with eagerness, and there was an anxious look in her eyes. It was hot in the studio, and drops of sweat stood on her forehead. She was a girl of twenty-six, with a great deal of dull gold hair; it was handsome hair, but it was carelessly done, dragged back from her forehead and tied in a hurried knot. She had a large face, with broad, flat features and small eyes; her skin was pasty, with a singular unhealthiness of tone, and there was no colour in the cheeks. She had an unwashed air and you could not help wondering if she slept in her clothes. She was serious and silent. When the next pause came, she stepped back to look at her work.

“I don’t know why I’m having so much bother,” she said. “But I mean to get it right.” She turned to Philip. “How are you getting on?”

“Not at all,” he answered, with a rueful smile.

She looked at what he had done.

“You can’t expect to do anything that way. You must take measurements. And you must square out your paper.”

She showed him rapidly how to set about the business. Philip was impressed by her earnestness, but repelled by her want of charm. He was grateful for the hints she gave him and set to work again. Meanwhile other people had come in, mostly men, for the women always arrived first, and the studio for the time of year (it was early yet) was fairly full. Presently there came in a young man with thin, black hair, an enormous nose, and a face so long that it reminded you of a horse. He sat down next to Philip and nodded across him to Miss Price.

“You’re very late,” she said. “Are you only just up?”

“It was such a splendid day, I thought I’d lie in bed and think how beautiful it was out.”

Philip smiled, but Miss Price took the remark seriously.

“That seems a funny thing to do, I should have thought it would be more to the point to get up and enjoy it.”

“The way of the humorist is very hard,” said the young man gravely.

He did not seem inclined to work. He looked at his canvas; he was working in colour, and had sketched in the day before the model who was posing. He turned to Philip.

“Have you just come out from England?”

“Yes.”

“How did you find your way to Amitrano’s?”

“It was the only school I knew of.”

“I hope you haven’t come with the idea that you will learn anything here which will be of the smallest use to you.”

“It’s the best school in Paris,” said Miss Price. “It’s the only one where they take art seriously.”

“Should art be taken seriously?” the young man asked; and since Miss Price replied only with a scornful shrug, he added: “But the point is, all schools are bad. They are academical, obviously. Why this is less injurious than most is that the teaching is more incompetent than elsewhere. Because you learn nothing.⁠ ⁠…”

“But why d’you come here then?” interrupted Philip.

“I see the better course, but do not follow it. Miss Price, who is cultured, will remember the Latin of that.”

“I wish you would leave me out of your conversation, Mr. Clutton,” said Miss Price brusquely.

“The only way to learn to paint,” he went on, imperturbable, “is to take a studio, hire a model, and just fight it out for yourself.”

“That seems a simple thing to do,” said Philip.

“It only needs money,” replied Clutton.

He began to paint, and Philip looked at him from the corner of his eye. He was long and desperately thin; his huge bones seemed to protrude from his body; his elbows were so sharp that they appeared to jut out through the arms of his shabby coat. His trousers were frayed at the bottom, and on each of his boots was a clumsy patch. Miss Price got up and went over to Philip’s easel.

“If Mr. Clutton will hold his tongue for a moment, I’ll just help you a little,” she said.

“Miss Price dislikes me because I have humour,” said Clutton, looking meditatively at his canvas, “but she detests me because I have genius.”

He spoke with solemnity, and his colossal, misshapen nose made what he said