Complete Works of Wilkie Collins (249 page)

That dexterous appeal to the tenderest feelings of my distinguished countrymen very nearly succeeded. The portrait of Mr. Batterbury (much the more carefully-painted picture of the two) was summarily turned out. The Portrait of a Nobleman was politely reserved to be hung up, if the Royal Academicians could possibly find room for it. They could not. So that picture also vanished back into the obscurity of the artist’s easel. Weak and well-meaning people would have desponded under these circumstances; but your genuine Rogue is a man of elastic temperament, not easily compressible under any pressure of disaster. I sent the portrait of Mr. Batterbury to the house of that distinguished patron, and the Portrait of a Nobleman to the Pawnbroker’s. After this I had plenty of elbow-room in the studio, and could walk up and down briskly, smoking my pipe, and thinking about what I should do next.

I had observed that the generous friend and vagabond brother artist, whose lodger I now was, never seemed to be in absolute want of money; and yet the walls of his studio informed me that nobody bought his pictures. There hung all his great works, rejected by the Royal Academy, and neglected by the patrons of Art; and there, nevertheless, was he, blithely plying the brush; not rich, it is true, but certainly never without money enough in his pocket for the supply of all his modest wants. Where did he find his resources? I determined to ask him the question the very next time he came to the studio.

“Dick,” I said (we called each other by our Christian names), “where do you get your money?”

“Frank,” he answered, “what makes you ask that question?”

“Necessity,” I proceeded. “My stock of money is decreasing, and I don’t know how to replenish it. My pictures have been turned out of the exhibition-rooms; nobody comes to sit to me; I can’t make a farthing; and I must try another line in the Arts, or leave your studio. We are old friends now. I’ve paid you honestly week by week; and if you can oblige me, I think you ought. You earn money somehow. Why can’t I?”

“Are you at all particular?” asked Dick.

“Not in the least,” I answered.

Dick nodded, and looked pleased; handed me my hat, and put on his own.

“You are just the sort of man I like,” he remarked, “and I would sooner trust you than any one else I know. You ask how I contrive to earn money, seeing that all my pictures are still in my own possession. My dear fellow, whenever my pockets are empty, and I want a ten-pound note to put into them, I make an Old Master.”

I stared hard at him, not at first quite understanding what he meant.

“The Old Master I can make best,” continued Dick, “is Claude Lorraine, whom you may have heard of occasionally as a famous painter of classical landscapes. I don’t exactly know (he has been dead so long) how many pictures he turned out, from first to last; but we will say, for the sake of argument, five hundred. Not five of these are offered for sale, perhaps, in the course of five years. Enlightened collectors of old pictures pour into the market by fifties, while genuine specimens of Claude, or of any other Old Master you like to mention, only dribble in by ones and twos. Under these circumstances, what is to be done? Are unoffending owners of galleries to be subjected to disappointment? Or are the works of Claude, and the other fellows, to be benevolently increased in number, to supply the wants of persons of taste and quality? No man of humanity but must lean to the latter alternative. The collectors, observe, don’t know anything about it — they buy Claude (to take an instance from my own practice) as they buy all the other Old Masters, because of his reputation, not because of the pleasure they get from his works. Give them a picture with a good large ruin, fancy trees, prancing nymphs, and a watery sky; dirty it down dexterously to the right pitch; put it in an old frame; call it a Claude; and the sphere of the Old Master is enlarged, the collector is delighted, the picture-dealer is enriched, and the neglected modern artist claps a joyful hand on a well-filled pocket. Some men have a knack at making Rembrandts, others have a turn for Raphaels, Titians, Cuyps, Watteaus, and the rest of them. Anyhow, we are all made happy — all pleased with each other — all benefited alike. Kindness is propagated and money is dispersed. Come along, my boy, and make an Old Master!”

CHAPTER V.

HE led the way into the street as he spoke. I felt the irresistible force of his logic. I sympathized with the ardent philanthropy of his motives. I burned with a noble ambition to extend the sphere of the Old Masters. In short, I took the tide at the flood, and followed Dick.

We plunged into some by-streets, struck off sharp into a court, and entered a house by a back door. A little old gentleman in a black velvet dressing-gown met us in the passage. Dick instantly presented me: “Mr. Frank Softly — Mr. Ishmael Pickup.” The little old gentleman stared at me distrustfully. I bowed to him with that inexorable politeness which I first learned under the instructive fist of Gentleman Jones, and which no force of adverse circumstances has ever availed to mitigate in after life. Mr. Ishmael Pickup followed my lead. There is not the least need to describe him — he was a Jew.

“Go into the front show-room, and look at the pictures, while I speak to Mr. Pickup,” said Dick, familiarly throwing open a door, and pushing me into a kind of gallery beyond. I found myself quite alone, surrounded by modern-antique pictures of all schools and sizes, of all degrees of dirt and dullness, with all the names of all the famous Old Masters, from Titian to Teniers, inscribed on their frames. A “pearly little gem,” by Claude, with a ticket marked “Sold” stuck into the frame, particularly attracted my attention. It was Dick’s last ten-pound job; and it did credit to the youthful master’s abilities as a workman-like maker of Claudes.

I have been informed that, since the time of which I am writing, the business of gentlemen of Mr. Pickup’s class has rather fallen off, and that there are dealers in pictures, nowadays, who are as just and honourable men as can be found in any profession or calling, anywhere under the sun. This change, which I report with sincerity and reflect on with amazement, is, as I suspect, mainly the result of certain wholesale modern improvements in the position of contemporary Art, which have necessitated improvements and alterations in the business of picture-dealing.

In my time, the encouragers of modern painting were limited in number to a few noblemen and gentlemen of ancient lineage, who, in matters of taste, at least, never presumed to think for themselves. They either inherited or bought a gallery more or less full of old pictures. It was as much a part of their education to put their faith in these on hearsay evidence, as to put their faith in King, Lords and Commons. It was an article of their creed to believe that the dead painters were the great men, and that the more the living painters imitated the dead, the better was their chance of becoming at some future day, and in a minor degree, great also. At certain times and seasons, these noblemen and gentlemen self-distrustfully strayed into the painting-room of a modern artist, self-distrustfully allowed themselves to be rather attracted by his pictures, self-distrustfully bought one or two of them at prices which would appear so incredibly low, in these days, that I really cannot venture to quote them. The picture was sent home; the nobleman or gentleman (almost always an amiable and a hospitable man) would ask the artist to his house and introduce him to the distinguished individuals who frequented it; but would never admit his picture, on terms of equality, into the society even of the second-rate Old Masters. His work was hung up in any out-of-the-way corner of the gallery that could be found; it had been bought under protest; it was admitted by sufferance; its freshness and brightness damaged it terribly by contrast with the dirtiness and the dinginess of its elderly predecessors; and its only points selected for praise were those in which it most nearly resembled the peculiar mannerism of some Old Master, not those in which it resembled the characteristics of the old mistress — Nature.

The unfortunate artist had no court of appeal that he could turn to. Nobody beneath the nobleman, or the gentleman of ancient lineage, so much as thought of buying a modern picture. Nobody dared to whisper that the Art of painting had in anywise been improved or worthily enlarged in its sphere by any modern professors. For one nobleman who was ready to buy one genuine modern picture at a small price, there were twenty noblemen ready to buy twenty more than doubtful old pictures at great prices. The consequence was, that some of the most famous artists of the English school, whose pictures are now bought at auction sales for fabulous sums, were then hardly able to make an income. They were a scrupulously patient and conscientious body of men, who would as soon have thought of breaking into a house, or equalizing the distribution of wealth, on the highway, by the simple machinery of a horse and pistol, as of making Old Masters to order. They sat resignedly in their lonely studios, surrounded by unsold pictures which have since been covered again and again with gold and bank-notes by eager buyers at auctions and show-rooms, whose money has gone into other than the painter’s pockets — -who have never dreamed that the painter had the smallest moral right to a farthing of it. Year after year, these martyrs of the brush stood, palette in hand, fighting the old battle of individual merit against contemporary dullness — fighting bravely, patiently, independently; and leaving to Mr. Pickup and his pupils a complete monopoly of all the profit which could be extracted, in their line of business, from the feebly-buttoned pocket of the patron, and the inexhaustible credulity of the connoisseur.

Now all this is changed. Traders and makers of all kinds of commodities have effected a revolution in the picture-world, never dreamed of by the noblemen and gentlemen of ancient lineage, and consistently protested against to this day by the very few of them who still remain alive.

The daring innovators started with the new notion of buying a picture which they themselves could admire and appreciate, and for the genuineness of which the artist was still living to vouch. These rough and ready customers were not to be led by rules or frightened by precedents; they were not to be easily imposed upon, for the article they wanted was not to be easily counterfeited. Sturdily holding to their own opinions, they thought incessant repetitions of Saints, Martyrs, and Holy Families, monotonous and uninteresting — and said so. They thought little pictures of ugly Dutch women scouring pots, and drunken Dutchmen playing cards, dirty and dear at the price — and said so. They saw that trees were green in nature, and brown in the Old Masters, and they thought the latter colour not an improvement on the former — and said so. They wanted interesting subjects; variety, resemblance to nature; genuineness of the article, and fresh paint; they had no ancestors whose feelings, as founders of galleries, it was necessary to consult; no critical gentlemen and writers of valuable works to snub them when they were in spirits; nothing to lead them by the nose but their own shrewdness, their own interests, and their own tastes — so they turned their backs valiantly on the Old Masters, and marched off in a body to the living men.

From that time good modern pictures have risen in the scale. Even as articles of commerce and safe investments for money, they have now (as some disinterested collectors who dine at certain annual dinners I know of, can testify) distanced the old pictures in the race. The modern painters who have survived the brunt of the battle, have lived to see pictures for which they once asked hundreds, selling for thousands, and the young generation making incomes by the brush in one year, which it would have cost the old heroes of the easel ten to accumulate. The posterity of Mr. Pickup still do a tolerable stroke of business (making bright modern masters for the market which is glutted with the dingy old material), and will, probably, continue to thrive and multiply in the future: the one venerable institution of this world which we can safely count upon as likely to last, being the institution of human folly. Nevertheless, if a wise man of the reformed taste wants a modern picture, there are places for him to go to now where he may be sure of getting it genuine; where, if the artist is not alive to vouch for his work, the facts at any rate have not had time to die which vouch for the dealer who sells it. In my time matters were rather different. The painters
we
throve by had died long enough ago for pedigrees to get confused, and identities disputable; and if I had been desirous of really purchasing a genuine Old Master for myself — speaking as a practical man — I don’t know where I should have gone to ask for one, or whose judgment I could have safely relied on to guard me from being cheated, before I bought it.

We are stopping a long time in the picture-gallery, you will say. I am very sorry — but we must stay a little longer, for the sake of a living picture, the gem of the collection.

I was still admiring Mr. Pickup’s Old Masters, when a dirty little boy opened the door of the gallery, and introduced a young lady.

My heart — fancy my having a heart! — gave one great bound in me. I recognised the charming person whom I had followed in the street.