Page:Once a Week Dec 1861 to June 1862.pdf/633

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May 24, 1862.]
JOHN HORNER, ESQUIRE, ON BRITISH PICTURES.
623

good report and evil report. You will love me always, promise me that!"

"What are you saying?" she asked, softly, smiling through her tears.

"Nay, I hardly know. I have caught something of your doubts and forebodings, I think. It is our first parting, Violet, as you say. Perhaps that is the cause. Again, good-bye! Keep your heart up, there's my brave Violet! Love me and trust in me always. Good-bye!"

One last hurried kiss, and he was gone. She heard the noise of the cab bearing him away; she listened until the sound quite died off. Then a sense of loneliness came dreadfully upon her, and the tears streamed down her face. Had Mr. Phillimore seen her then, he would have cried aloud in his admiration at the exquisite semblance of Raffaelle's Mater Dolorosa that she presented.

"I have never doubted him," she said. "Let me not doubt him now. And yet there was something new and strange in his voice as he spoke of that newspaper business. And then this sudden departure. No! no!" and she interrupted herself passionately, "he is my own good true husband! I wrong him by one moment's doubt of him."

And Violet dried her eyes and passed up-stairs, to kneel before the cradle in the front room, to kiss tenderly the rosy little child curled up closely and fast asleep: to weep anew, and pray for her husband and the father of her child.

"If I were never to see her more!" murmured Wilford, as the cab bore him rapidly away. The thought seemed to be to him agony the most acute.

The cab did not go into the city—drew up at no newspaper office. It stopped at the door of an hotel near Covent Garden Market. The night-porter was roused, and the cab dismissed. Wilford was shown into a bedroom. He flung down his carpet-bag.

"At least I have now time to think; I have gained that much," and he drew his hand nervously across his forehead. "Let me read this infernal letter again." And he took it, a crumpled ball of paper, from his pocket, and smoothed it on the dressing-table in the room. As he did this he caught sight of himself in the glass. "Heaven!" he exclaimed, involuntarily, "how white I am!"

He rested his head upon his hands, and remained so for a long time, bent over the letter. It contained but a few short lines, yet he sat brooding over these, reading them again and again, as though he were learning them by heart. At last he seemed to be staring in a dazed, vacant way, as though his eyes really took no cognizance of the writing before him, and his thoughts were miles and miles away. With an effort he brought himself back to consciousness of surrounding circumstances. Once more he read the letter.

"I shall remember the name," he said at last in a hollow voice, "and the address: 'Boisfleury—second floor—67, Stowe Street, Strand,'—I shall not forget that. For this—" He stood for a long time irresolutely, folding it up, winding it round his fingers, twisting it into all sorts of shapes. "Yes, it had better be burnt!"

He lighted it at the candle, thrust the flaming paper into the empty grate, and watched it slowly consume. He waited until the last spark had flown from it. A few flakes of tinder only remained of the letter which had disturbed him so strangely.

"So far so well," he said; "what next?"

And he shuddered.

He looked round nervously at the gaunt-looking bedroom. It could hardly be comfortable; it struck him as so new and unaccustomed, and the heavy furniture of the room quite absorbed and oppressed the light. The place seemed very dim and dreary, and full of dense shadows huddling closely in the corners. He had never felt so sad and desolate before.

Slowly he undressed and went to bed—hardly to sleep, however.




JOHN HORNER, ESQUIRE, ON BRITISH PICTURES AT THE INTERNATIONAL EXHIBITION.

As the present occasion is the first on which British Art may be said to have come out before Europe, there has necessarily been some little anxiety as to the result. That the nation of shopkeepers should pretend to such a luxury as Art, is doubtless a matter of ridicule to those gentlemen who have been for this fortnight past denouncing us in the Paris papers. Nevertheless, we suspect that the connoisseurs in Art will be a little surprised at the radiant beauty we have to show in our half of the Fine Art Gallery. We can go back no further than Hogarth, it is true, and the whole period over which painting has become a product of our national mind is compassed in the last hundred years; but it must be admitted that English Art was a vigorous infant even at its birth; indeed there is little doubt that no country in Europe could count as many artists of first-rate genius as England possessed in the middle and towards the latter end of the last century. We are all familiar with the Hudibras of painting by his Marriage à la Mode in the National Collection, but only the few who have penetrated into that close-packed raree-show, Sir J. Soane's Museum, have seen the series of four pictures, termed the Election, and the larger series constituting the Rake's Progress. After the lapse of more than a hundred years, they look as fresh as ever. We confess, however, that much as we gather from this great painter of life, we turn gladly to those stately ladies that smile from the canvasses of Gainsborough and Reynolds. Possibly our two great portrait-painters are not quite so well represented here as they were at the Manchester Exhibition; at least, Reynolds does not show in such force. Where is the Strawberry Girl? Where the lovely, smiling, bewitching Nelly O'Brien? We have, it is true, a portrait of this beauty by his hand; but it is "as moonlight is to sunlight—as water is to wine" (however sweet in expression), when compared with that winning face that smiled upon us from underneath the shadow of her hat in the Manchester Gallery. We can understand, however, the difficulty which the Commissioners must have encountered in inducing the possessors of pictures of this and other old English masters to contribute their favourite