ask Dumoreau, what they thought of it! Even the Englishman, Smit, who never says anything, opened his mouth and exclaimed; as for the marmitons, they were breathless, and I thought Achille, the youth of whom I spoke to you, my lord, and who appears to me to be born with the true feeling, would have been overcome with emotion. When it was finished, Leander retired to his room—I attended him—and covered his face with his hands. Would you believe it, my lord! Not a word; not even a message. All this morning Leander has waited in the last hope. Nothing, absolutely nothing! How can he compose when he is not appreciated? Had he been appreciated, he would to-day not only have repeated the escalopes à la Bellamont, but perhaps even invented what might have outdone it. It is unheard of, my lord. The late lord Monmouth would have sent for Leander the very evening, or have written to him a beautiful letter, which would have been preserved in his family; M. de Sidonia would have sent him a tankard from his table. These things in themselves are nothing; but they prove to a man of genius that he is understood. Had Leander been in the Imperial kitchen, or even with the Emperor of Russia, he would have been decorated!’
‘Where is he?’ said Lord Eskdale.
‘He is alone in the cook’s room.’
‘I will go and say a word to him.’
Alone, in the cook’s room, gazing in listless vacancy on the fire, that fire which, under his influence, had often achieved so many master-works, was the great artist who was not appreciated. No longer suffering under mortification, but overwhelmed by that exhaustion which follows acute sensibility and the over-tension of the creative faculty, he looked round as Lord Eskdale entered, and when he perceived who was his visitor, he rose immediately, bowed very low, and then sighed.
‘Prevost thinks we are not exactly appreciated here,’ said Lord Eskdale.
Leander bowed again, and still sighed.
‘Prevost does not understand the affair,’ continued Lord Eskdale. ‘Why I wished you to come down here, Leander, was not to receive the applause of my cousin and his guests, but to form their taste.’
Here was a great idea; exciting and ennobling. It threw quite a new light upon the position of Leander. He started; his brow seemed to clear. Leander, then, like other eminent men, had duties to perform as well as rights to enjoy; he had a right to fame, but it was also his duty to form and direct public taste. That then was the reason he was brought down to Bellamont Castle; because some of the greatest personages in England, who never had eaten a proper dinner in their lives, would have an opportunity, for the first time, of witnessing art. What could the praise of the Duke of Clanronald, or Lord Hampshire, or Lord Hull, signify to one who had shared the confidence of a Lord Monmouth, and whom Sir Alexander Grant, the first judge in Europe, had declared the only man of genius of the age? Leander erred too in supposing that his achievements had been lost upon the guests at Bellamont. Insensibly his feats had set them a-thinking. They had been like Cossacks in a picture-gallery; but the Clanronalds, the Hampshires, the Hulls, would return to their homes impressed with a great truth, that there is a difference between eating and dining. Was this nothing for Leander to have effected? Was it nothing, by this development of taste, to assist in supporting that aristocratic influence which he wished to cherish, and which can alone encourage art? If anything can save the aristocracy in this levelling age, it is an appreciation of men of genius. Certainly it would have been very gratifying to Leander if his Grace had only sent him a message, or if Lord Montacute had expressed a wish to see him. He had been long musing over some dish à la Montacute for this very day. The young lord was reputed to have talent; this dish might touch his fancy; the homage of a great artist flatters youth; this offering of genius might colour his destiny. But what, after all, did this signify? Leander had a mission to perform.
‘If I were you, I would exert myself, Leander,’ said Lord Eskdale.
‘Ah! my lord, if all men were like you! If artists were only sure of being appreciated; if we were but understood, a dinner would become a sacrifice to the gods, and a kitchen would be Paradise.’
In the meantime, the mayor and town-councillors of Montacute, in their robes of office, and preceded by their bedels and their mace-bearer, have entered the gates of the castle. They pass into the great hall, the most ancient part of the building, with its open roof of Spanish chestnut, its screen and gallery and dais, its painted windows and marble floor. Ascending the dais, they are ushered into an antechamber, the first of that suite of state apartments that opens on the terrace. Leaving on one side the principal dining-room and the library, they proceeded through the green drawing-room, so called from its silken hangings, the red drawing-room, covered with ruby velvet, and both adorned, but not encumbered, with pictures of the choicest art, into the principal or duchesses’ drawing-room, thus entitled from its complete collection of portraits of Duchesses of Bellamont. It was a spacious and beautifully proportioned chamber, hung with amber satin, its ceiling by Zucchero, whose rich colours were relieved by the burnished gilding. The corporation trod tremblingly over the gorgeous carpet of Axminster, which displayed, in vivid colours and colossal proportions, the shield and supporters of Bellamont, and threw a hasty glance at the vases of porphyry and malachite, and mosaic tables covered with precious toys, which were grouped about.
Thence they were ushered into the Montacute room, adorned, among many interesting pictures, by perhaps the finest performance of Lawrence, a portrait of the present duke, just after his marriage. Tall and graceful, with a clear dark complexion, regular features, eyes of liquid tenderness, a frank brow, and rich clustering hair, the accomplished artist had seized and conveyed the character of a high-spirited but gentle-hearted cavalier. From the Montacute chamber they entered the ball-room; very spacious, white and gold, a coved ceiling, large Venetian lustres, and the walls of looking-glass, enclosing friezes of festive sculpture. Then followed another antechamber, in the centre of which was one of the masterpieces of Canova. This room, lined with footmen in state liveries, completed the suite that opened on the terrace. The northern side of this chamber consisted of a large door, divided, and decorated in its panels with emblazoned shields of arms.
The valves being thrown open, the mayor and town-council of Montacute were ushered into a gallery one hundred feet long, and which occupied a great portion of the northern side of the castle. The panels of this gallery enclosed a series of pictures in tapestry, which represented the principal achievements of the third crusade. A Montacute had been one of the most distinguished knights in that great adventure, and had saved the life of Cour de Lion at the siege of Ascalon. In after-ages a Duke of Bellamont, who was our ambassador at Paris, had given orders to the Gobelins factory for the execution of this series of pictures from cartoons by the most celebrated artists of the time. The subjects of the tapestry had obtained for the magnificent chamber, which they adorned and rendered so interesting, the title of ‘The Crusaders’ Gallery.’
At the end of this gallery, surrounded by their guests, their relatives, and their neighbours; by high nobility, by reverend prelates, by the members and notables of the county, and by some of the chief tenants of the duke, a portion of whom were never absent from any great carousing or high ceremony that occurred within his walls, the Duke and Duchess of Bellamont and their son, a little in advance of the company, stood to receive the congratulatory addresses of the mayor and corporation of their ancient and faithful town of Montacute; the town which their fathers had built and adorned, which they had often represented in Parliament in the good old days, and which they took care should then enjoy its fair proportion of the good old things; a town, every house in which belonged to them, and of which there was not an inhabitant who, in his own person or in that of his ancestry, had not felt the advantages of the noble connection.
The duke bowed to the corporation, with the duchess on his left hand; and on his right there stood a youth, above the middle height and of a frame completely and gracefully formed. His dark brown hair, in those hyacinthine curls which Grecian poets have celebrated, and which Grecian sculptors have immortalised, clustered over his brow, which, however, they
