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Ernest Maltravers, a novel by Edward Bulwer-Lytton |
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Book 1 - Chapter 13 |
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_ BOOK I CHAPTER XIII "But if a little exercise you choose,
At length, when, on a lawn sloping towards a glassy lake overhung by limes and chestnuts, and backed by a hanging wood, the house itself came in sight, the whole prospect seemed suddenly to receive its finishing and crowning feature. The house was long and low. A deep peristyle that supported the roof extended the whole length, and being raised above the basement had the appearance of a covered terrace; broad flights of steps, with massive balustrades, supporting vases of aloes and orange-trees, led to the lawn; and under the peristyle were ranged statues, Roman antiquities and rare exotics. On this side the lake another terrace, very broad, and adorned, at long intervals, with urns and sculpture, contrasted the shadowy and sloping bank beyond; and commanded, through unexpected openings in the trees, extensive views of the distant landscape, with the stately Thames winding through the midst. The interior of the house corresponded with the taste without. All the principal rooms, even those appropriated to sleep, were on the same floor. A small but lofty and octagonal hall conducted to a suite of four rooms. At one extremity was a moderately-sized dining-room with a ceiling copied from the rich and gay colours of Guido's "Hours;" and landscapes painted by Cleveland himself, with no despicable skill, were let into the walls. A single piece of sculpture copied from the Piping Faun, and tinged with a flesh-like glow by purple and orange draperies behind it, relieved without darkening the broad and arched window which formed its niche. This communicated with a small picture-room, not indeed rich with those immortal gems for which princes are candidates; for Cleveland's fortune was but that of a private gentleman, though, managed with a discreet if liberal economy, it sufficed for all his elegant desires. But the pictures had an interest beyond that of art, and their subjects were within the reach of a collector of ordinary opulence. They made a series of portraits--some originals, some copies (and the copies were often the best) of Cleveland's favourite authors. And it was characteristic of the man, that Pope's worn and thoughtful countenance looked down from the central place of honour. Appropriately enough, this room led into the library, the largest room in the house, the only one indeed that was noticeable from its size, as well as its embellishments. It was nearly sixty feet in length. The bookcases were crowned with bronze busts, while at intervals statues, placed in open arches, backed with mirrors, gave the appearance of galleries, opening from the book-lined walls, and introduced an inconceivable air of classic lightness and repose into the apartment; with these arches the windows harmonised so well, opening on the peristyle, and bringing into delightful view the sculpture, the flowers, the terraces, and the lake without, that the actual prospects half seduced you into the belief that they were designs by some master-hand of the poetical gardens that yet crown the hills of Rome. Even the colouring of the prospects on a sunny day favoured the delusion, owing to the deep, rich hues of the simple draperies, and the stained glass of which the upper panes of the windows were composed. Cleveland was especially fond of sculpture; he was sensible, too, of the mighty impulse which that art has received in Europe within the last half century. He was even capable of asserting the doctrine, not yet sufficiently acknowledged in this country, that Flaxman surpassed Canova. He loved sculpture, too, not only for its own beauty, but for the beautifying and intellectual effect that it produces wherever it is admitted. It is a great mistake, he was wont to say, in collectors of statues, to arrange them _pele mele_ in one long monotonous gallery. The single relief, or statue, or bust, or simple urn, introduced appropriately in the smallest apartment we inhabit, charms us infinitely more than those gigantic museums, crowded into rooms never entered but for show, and without a chill, uncomfortable shiver. Besides, this practice of galleries, which the herd consider orthodox, places sculpture out of the patronage of the public. There are not a dozen people who can afford galleries. But very moderately affluent gentlemen can afford a statue or a bust. The influence, too, upon a man's mind and taste, created by the constant and habitual view of monuments of the only imperishable art which resorts to physical materials, is unspeakable. Looking upon the Greek marble, we become acquainted, almost insensibly, with the character of the Greek life and literature. That Aristides, that Genius of Death, that fragment of the unrivalled Psyche, are worth a thousand Scaligers! "Do you ever look at the Latin translation when you read Aeschylus?" said a schoolboy once to Cleveland. "That is my Latin translation," said Cleveland, pointing to the Laocoon. The library opened at the extreme end to a small cabinet for curiosities and medals, which, still in a straight line, conducted to a long belvidere, terminating in a little circular summer-house, that, by a sudden wind of the lake below, hung perpendicularly over its transparent tide, and, seen from the distance, appeared almost suspended on air, so light were its slender columns and arching dome. Another door from the library opened upon a corridor which conducted to the principal sleeping-chambers; the nearest door was that of Cleveland's private study communicating with his bedroom and dressing-closet. The other rooms were appropriated to, and named after, his several friends. Mr. Cleveland had been advised by a hasty line of the movements of his ward, and he received the young man with a smile of welcome, though his eyes were moist and his lips trembled--for the boy was like his father!--a new generation had commenced for Cleveland! "Welcome, my dear Ernest," said he; "I am so glad to see you, that I will not scold you for your mysterious absence. This is your room, you see your name over the door; it is a larger one than you used to have, for you are a man now; and there is your German sanctum adjoining--for Schiller and the meerschaum!--a bad habit that, the meerschaum! but not worse than the Schiller, perhaps. You see you are in the peristyle immediately. The meerschaum is good for flowers, I fancy, so have no scruple. Why, my dear boy, how pale you are! Be cheered--be cheered. Well, I must go myself, or you will infect me." Cleveland hurried away; he thought of his lost friend. Ernest sank upon the first chair, and buried his face in his hands. Cleveland's valet entered, and bustled about and unpacked the portmanteau, and arranged the evening dress. But Ernest did not look up nor speak; the first bell sounded; the second tolled unheard upon his ear. He was thoroughly overcome by his emotions. The first notes of Cleveland's kind voice had touched upon a soft chord, that months of anxiety and excitement had strained to anguish, but had never woke to tears. His nerves were shattered--those strong young nerves! He thought of his dead father when he first saw Cleveland; but when he glanced round the room prepared for him, and observed the care for his comfort, and the tender recollection of his most trifling peculiarities everywhere visible, Alice, the watchful, the humble, the loving, the lost Alice rose before him. Surprised at his ward's delay, Cleveland entered the room; there sat Ernest still, his face buried in his hands. Cleveland drew them gently away, and Maltravers sobbed like an infant. It was an easy matter to bring tears to the eyes of that young man: a generous or a tender thought, an old song, the simplest air of music, sufficed for that touch of the mother's nature. But the vehement and awful passion which belongs to manhood when thoroughly unmanned--this was the first time in which the relief of that stormy bitterness was known to him! _ |
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