Mr. Kerstall left his visitors for about ten minutes, and at the end of that time he returned to say that his father was quite ready to receive Sir Philip and Lady Jocelyn.

"I mentioned the name of Dunbar to him," the painter said; "but he remembers nothing. He has been painting a little this morning, and is in very high spirits about his work. It pleases him to handle the brushes, though his hand is terribly shaky, and he can scarcely hold the palette."

The artist led the way to a large room, comfortably but plainly furnished, and heated to a pitch of suffocation by a stove. There was a bed in a curtained alcove at the end of the apartment; an easel stood near the large window; and the proprietor of the chamber sat in a cushioned arm-chair close to the suffocating stove.

Michael Kerstall was an old man, who looked even older than he was. He was a picturesque-looking old man, with long white hair dropping down over his coat-collar, and a black-velvet skull-cap upon his head. He was a cheerful old man, and life seemed very pleasant to him; for Frenchmen have a habit of honouring their fathers and mothers, and Mr. Frederick Kerstall was a naturalized citizen of the French republic.

The old man nodded and smiled and chuckled as Sir Philip and Laura were presented to him, and pointed with a courtly grace to the chairs which his son set for his guests.

"You want to see my pictures, sir? Ah, yes; to be sure, to be sure! The modern school of painting, sir, is something marvellous to an old man, sir; an old man who remembers Sir Thomas Lawrence--ay, sir, I had the honour to know him intimately. No pre-Raphaelite theories in those days, sir; no figures cut of coloured pasteboard and glued on to the canvas; no green trees and vermilion draperies, and chocolate-coloured streaks across an ultramarine background, sir; and I'm told the young people call that a sky. No pointed chins, and angular knees and elbows, and frizzy red hair--red, sir, and as frizzy as a blackamoor's--and I'm told the young people call that female beauty. No, sir; nothing of that sort in my day. There was a French painter in my day, sir, called David, and there was an English painter in my day called Lawrence; and they painted ladies and gentlemen, sir; and they inst.i.tuted a gentlemanly school, sir. And you put a crimson curtain behind your subject, and you put a bran-new hat, or a roll of paper, in his right hand, and you thrust his left hand in his waistcoat--the best black satin, sir, with strong light in the texture--and you made your subject look like a gentleman. Yes, sir, if he was a chimney-sweep when he went into your studio, he went out of it a gentleman."

The old man would have gone on talking for any length of time, for pre-Raphaelitism was his favourite antipathy; and the black-bearded gentleman standing behind his chair was an enthusiastic member of the pre-Raphaelite brotherhood.

Mr. Kerstall senior seemed so thoroughly in possession of all his faculties while he held forth upon modern art, that Laura began to hope his memory could scarcely be so much impaired as his son had represented it to be.

"When you painted portraits in England, Mr. Kerstall," she said, "before you went to Italy, you painted a likeness of my father, Henry Dunbar, who was then a young man. Do you remember that circ.u.mstance?"

Laura asked this question very hopefully; but to her surprise, Mr.

Kerstall took no notice whatever of her inquiry, but went rambling on about the degeneracy of modern art.

"I am told there is a young man called Millais, sir, and another young man called Holman Hunt, sir,--positive boys, sir; actually very little more than boys, sir; and I'm given to understand, sir, that when these young men's works are exhibited at the Royal Academy in London, sir, people crowd round them, and go raving mad about them; while a gentlemanly portrait of a county member, with a Corinthian pillar and a crimson curtain, gets no more attention than if it was a bishop's half-length of black canvas. I am told so, sir, and I am obliged to believe it, sir."

Poor Laura listened very impatiently to all this talk about painters and their pictures. But Mr. Kerstall the younger perceived her anxiety, and came to her relief.

"Lady Jocelyn would very much like to see the pictures you have scattered about in this room, my dear father," he said, "if you have no objection to our turning them over?"

The old man chuckled and nodded.

"You'll find 'em gentlemanly," he said; "you'll find 'em all more or less gentlemanly."

"You're sure you don't remember painting the portrait of a Mr. Dunbar?"

Mr. Kerstall the younger said, bending over his father's chair as he spoke. "Try again, father--try to remember--Henry Dunbar, the son of Percival Dunbar, the great banker."

Mr. Kerstall senior, who never left off smiling, nodded and chuckled, and scratched his head, and seemed to plunge into a depth of profound thought.

Laura began to hope again.

"I remember painting Sir Jasper Rivington, who was Lord Mayor in the year--bless my heart how the dates do slip out of my mind, to be sure!--I remember painting _him_, in his robes too; yes, sir--by gad, sir, his official robes. He'd liked me to have painted him looking out of the window of his state-coach, sir, bowing to the populace on Ludgate Hill, with the dome of St. Paul's in the background; but I told him the notion wasn't practicable, sir; I told him it couldn't be done, sir; I----"

Laura looked despairingly at Mr. Kerstall the younger.

"May we see the pictures?" she asked. "I am sure that I shall recognize my father's portrait, if by any chance it should be amongst them."

"We will set to work at once, then," the artist said, briskly. "We're going to look at your pictures, father."

Unframed canvases, and unfinished sketches on millboard, were lying about the room in every direction, piled against the wall, heaped on side-tables, and stowed out of the way upon shelves, and everywhere the dust lay thick upon them.

"It was quite a chamber of horrors," Mr. Kerstall the younger said, gaily: for it was here that he banished his own failures; his sketches for his pictures that were to be painted upon some future occasion; carelessly-drawn groups that he meant some day to improve upon; finished pictures that he had been unable to sell; and all the other useless litter of an artist's studio.

There were a great many dingy performances of Mr. Kerstall senior; very cla.s.sical, and extremely uninteresting; studies from the life, grey and chalky and muscular, with here and there a knotty-looking foot or a lumpy arm, in the most unpleasant phases of foreshortening. There were a good many portraits, gentlemanly to the last degree; but poor Laura looked in vain for the face she wanted to see--the hard cold face, as she fancied it must have been in youth.

There were portraits of elderly ladies with stately head-gear, and simpering young ladies with innocent short-waisted bodices and flowers held gracefully, in their white-muslin draperies; there were portraits of stern clerical grandees, and parliamentary non-celebrities, with popular bills rolled up in their hands, ready to be laid upon the speaker's table, and with a tight look about the lips, that seemed to say the member was prepared to carry his motion, or perish on the floor of the House.

There were only a few portraits of young men of military aspect, looking fiercely over regulation stocks, and with forked lightning and little pyramids of cannon-b.a.l.l.s in the background.

Laura sighed heavily at last, for amongst all these portraits there was not one which in the least possible degree recalled the hard handsome face with which she was familiar.

"I'm afraid my father's picture has been lost or destroyed," she said, mournfully.

But Mr. Kerstall would not allow this.

I have said that it was Laura's peculiar privilege to bewitch everybody with whom she came in contact, and to transform them, for the nonce, into her willing slaves, eager to go through fire and water in the service of this beautiful creature, whose eyes and hair were like blue skies and golden sunshine, and carried light and summer wherever they went.

The black-bearded artist in the paint-smeared holland blouse was in no manner proof against Lady Jocelyn's fascinations.

He had well-nigh suffocated himself with dust half-a-dozen times already in her service, and was ready to inhale as much more dust if she desired him so to do.

"We won't give it up just yet, Lady Jocelyn," he said, cheerfully; "there's a couple of shelves still to examine. Suppose we try shelf number one, and see if we can find Mr. Henry Dunbar up there."

Mr. Kerstall junior mounted upon a chair, and brought down another heap of canvases, dirtier than any previous collection. He brought these to a table by the side of his father's easel, and one by one he wiped them clean with a large ragged silk handkerchief, and then placed them on the easel.

The easel stood in the full light of the broad window. The day was bright and clear, and there was no lack of light, therefore, upon the portraits.

Mr. Kerstall senior began to be quite interested in his son's proceedings, and contemplated the younger man's operations with a perpetual chuckling and nodding of the head, that were expressive of unmitigated satisfaction.

"Yes, they're gentlemanly," the old man mumbled; "n.o.body can deny that they're gentlemanly. They may make a cabal against me in Trafalgar Square, and decline to hang 'em: but they can't say my pictures are ungentlemanly. No, no. Take a basin of water and a sponge, Fred, and wash the dust off. It pleases me to see 'em again--yes, by gad, sir, it pleases me to see 'em again!"

Mr. Frederick Kerstall obeyed his father, and the pictures brightened wonderfully under the influence of a damp sponge. It was rather a slow operation; but Laura was bent upon seeing every picture, and Philip Jocelyn waited patiently enough until the inspection should be concluded.

The old man brightened up as much as his paintings, and began presently to call out the names of the subjects.

"The member for Slopton-on-the-Tees," he said, as his son placed a portrait on the easel; "that was a presentation picture, but the subscriptions were never paid up, and the committee left the portrait upon my hands. I don't remember the name of the member, because my memory isn't quite so good as it used to be; but the borough was Slopton-on-the-Tees--Slopton--yes, yes, I remember that."

The younger Kerstall took away the member for Slopton, and put another picture on the easel. But this was like the rest; the pictured face bore no trace of resemblance to that face for which Laura was looking.

"I remember him too," the old man cried, with a triumphant chuckle. "He was an officer in the East-India Company's service. I remember him; a dashing young fellow he was too. He had the picture painted for his mother: paid me a third of the money at the first sitting; never paid me a sixpence afterwards; and went off to India, promising to send me a bill of exchange for the balance by the next mail; but I never heard any more of him."

Mr. Kerstall removed the Indian officer, and subst.i.tuted another portrait.

Sir Philip, who was sitting near the window, looking on rather listlessly, cried--

"What a handsome face!"

It _was_ a handsome face--a bright young face, which smiled haughty defiance at the world--a splendid face, with perhaps a shade of insolence in the curve of the upper lip, sharply denned under a thick auburn moustache, with pointed ends that curled fiercely upwards. It was such a face as might have belonged to the favourite of a powerful king; the face of the Cinq Mars, on the very summit of his giddy eminence, with a hundred pairs of boots in his dressing-room, and quiet Cardinal Richelieu watching silently for the day of his doom. English Buckingham may have worn the same insolent smile upon his lips, the same bright triumph in his glance, when he walked up to the throne of Louis the Just, with the pearls and diamonds dropping from his garments as he went along, and with forbidden love beaming on him out of Austrian Anne's blue eyes. It was such a face as could only belong to some high favourite of fortune, defiant of all mankind in the consciousness of his own supreme advantages.

But Laura Jocelyn shook her head as she looked at the picture.

"I begin to despair of finding my father's portrait," she said; "I have seen nothing at all like it yet."