Fenwick's Career. Mrs. Humphry Ward

all the same I don't see you earning your bread-and-butter at portrait-painting; and I guess you don't either.'

      The speaker threw out a thin hand and patted Fenwick on the shoulder, returning immediately to a close examination of the picture.

      'I told you, sir, I should only paint portraits if I were compelled!' said the young man, in a proud, muffled voice. He began to gather up his things and clean his palette.

      'But of course you'll be compelled—unless you wish to die "clemmed," as we say in Lancashire,' returned the other, briskly. 'What do you say, mamma?'

      He turned towards his wife, pushing up his spectacles to look at her. He was a tall man, a little bent at the shoulders from long years of desk-work; and those who saw him for the first time were apt to be struck by a certain eager volatility of aspect—expressed by the small head on its thin neck, by the wavering blue eyes, and smiling mouth—not perhaps common in the chief cashiers of country banks.

      As his wife met his appeal to her, the slight habitual furrow on her own brow deepened. She saw that her husband held a newspaper crushed in his right hand, and that his whole air was excited and restless. A miserable, familiar pang passed through her. As the chief and trusted official of an old-established bank in one of the smaller cotton-towns, Mr. Morrison had a large command of money. His wife had suspected him for years of using bank funds for the purposes of his own speculations. She had never dared to say a word to him on the subject, but she lived in terror—being a Calvinist by nature and training—of ruin here, and Hell hereafter.

      Of late, some instinct told her that he had been forcing the pace; and as she turned to him, she felt certain that he had just received some news which had given him great pleasure, and she felt certain also that it was news of which he ought rather to have been ashamed.

      She drew herself together in a dumb recoil. Her hands trembled as she put down her knitting.

      'I'd be sorry if a son of mine did nothing but paint portraits.'

      John Fenwick looked up, startled.

      'Why?' laughed her husband.

      'Because it often seems to me,' she said, in a thin, measured voice, 'that a Christian might find a better use for his time than ministering to the vanity of silly girls, and wasting hours and hours on making a likeness of this poor body, that's of no real matter to anybody.'

      'You'd make short work of art and artists, my dear!' said Morrison, throwing up his hands. 'You forget, perhaps, that St. Luke was a painter?'

      'And where do you get that from, Mr. Morrison, I'd like to ask?' said his wife, slowly; 'it's not in the Bible—though I believe you think it is. Well, good-night to you, Mr. Fenwick. I'm sorry you haven't enjoyed yourself, and I'm not going to deny that Bella was very rude and trying. Good-night.'

      And with a frigid touch of the hand, Mrs. Morrison departed. She looked again at her husband as she closed the door—a sombre, shrinking look.

      Morrison avoided it. He was pacing up and down in high spirits. When he and Fenwick were left alone, he went up to the painter and laid an arm across his shoulders.

      'Well!—how's the money holding out?'

      'I've got scarcely any left,' said the painter, instinctively moving away. It might have been seen that he felt himself dependent, and hated to feel it.

      'Any more commissions?'

      'I've painted a child up in Grasmere, and a farmer's wife just married. And Satterthwaite, the butcher, says he'll give me a commission soon. And there's a clergyman, up Easedale way, wants me to paint his son.'

      'Well; and what do you get for these things?'

      'Three pounds—sometimes five,' said the young man, reluctantly.

      'A little more than a photograph.'

      'Yes. They say if I won't be reasonable there's plenty as'll take their pictures, and they can't throw away money.'

      'H'm! Well, at this rate, Fenwick, you're not exactly galloping into a fortune. And your father?'

      Fenwick made a bitter gesture, as much as to say, 'What's the good of discussing that?'

      'H'm!—Well, now, Fenwick, what are your plans? Can you live on what you make?'

      'No,' said the other, abruptly. 'I'm getting into debt.'

      'That's bad. But what's your own idea? You must have some notion of a way out.'

      'If I could get to London,' said the other, in a low, dragging voice,

       'I'd soon find a way out.'

      'And what prevents you?'

      'Well, it's simple enough. You don't really, sir, need to ask. I've no money—and I've a wife and child.'

      Fenwick's tone was marked by an evident ill-humour. He had thrown back his handsome head, and his eyes sparkled. It was plain that Mr. Morrison's catechising manner had jarred upon a pride that was all on edge—wounded by poverty and ill-success.

      'Yes—that was an imprudent match of yours, my young man!

       However—however—'

      Mr. Morrison walked up and down ruminating. His long, thin hands were clasped before him. His head hung in meditation. And every now and then he looked towards the newspaper he had thrown down. At last he again approached the artist.

      'Upon my word, Fenwick, I've a mind to do something for you—I have indeed. I believe you'd justify it—I do! And I've always had a soft heart for artists. You look at the things in this room'—he waved his hand towards the walls, which were covered with water-colour drawings—'I've known most of the men who painted them, and I've assisted a very great many of them. Those pictures—most of them—represent loans, sir!—loans at times of difficulty, which I was proud to make'—Mr. Morrison struck his hand on the table—'yes, proud—because I believed in the genius of the men to whom I made them. I said, "I'll take a picture"—and they had the money—and the money saved their furniture—and their homes—and their wives and children. Well, I'm glad and proud to have done it, Fenwick!—you mark my words.'

      He paused, his eyes on the artist, his attitude grasping, as it were, at the other's approval—hungry for it. Fenwick said nothing. He stood in the shadow of a curtain, and the sarcasm his lip could not restrain escaped the notice of his companion. 'And so, you see, I'm only following out an old custom when I say, I believe in you, Fenwick!—I believe in your abilities—I'm sorry for your necessities—and I'll come to your assistance. Now, how much would take you to London and keep you there for six months, till you've made a few friends and done some work?'

      'A hundred pounds,' said the painter, breathing hard.

      'A hundred pounds. And what about the wife?'

      'Her father very likely would give her shelter, and the child. And of course I should leave her provided.'

      'Well, and what about my security? How, John, in plain words, do you propose to repay me?'

      Mr. Morrison spoke with extreme mildness. His blue eyes, whereof the whites were visible all round the pupils, shone benevolently on the artist—his mouth was all sensibility. Whereas, for a moment, there had been something of the hawk in his attitude and expression, he was now the dove—painfully obliged to pay a passing attention to business.

      Fenwick hesitated.

      'You mentioned six guineas, I think, for this portrait?' He nodded towards the canvas, on which he had been at work.

      'I did. It is unfortunate, of course, that Bella dislikes it so. I shan't be able to hang it. Never mind. A bargain's a bargain.'

      The young man drew himself up proudly.

      'It is so, Mr. Morrison. And you wished me to paint your portrait, I think, and Mrs. Morrison's.' The elder man made a sign of assent. 'Well, I could run up to your place—to Bartonbury—and