Chapter 5

Esther's anxiety about Catherine was for the time put at rest by the professor's little maneuver, but she had some rather more serious cause for disquiet about herself, in regard to which she did not care to consult her cousin or any one else. Wharton and Strong were not the only men who undertook to enliven her path of professional labor. Every day at noon, the Reverend Stephen Hazard visited his church to see how Wharton was coming forward, and this clerical duty was not neglected after Esther joined the work-people. Much as Mr. Hazard had to do, and few men in New York were busier, he never forgot to look in for a moment on the artists, and Esther could not help noticing that this moment tended to lengthen. He had a way of joining Wharton and Catherine on their tour of inspection, and then bringing Catherine back to Esther's work-place, and sitting down for an instant to rest and look at the St. Cecilia. Time passed rapidly, and once or twice it had come over Esther's mind that, for a very busy man, Mr. Hazard seemed to waste a great deal of time. It grew to be a regular habit that between noon and one o'clock, Esther and Catherine entertained the clergyman of the parish.

The strain of standing in a pulpit is great. No human being ever yet constructed was strong enough to offer himself long as a light to humanity without showing the effect on his constitution. Buddhist saints stand for years silent, on one leg, or with arms raised above their heads, but the limbs shrivel, and the mind shrivels with the limbs. Christian saints have found it necessary from time to time to drop their arms and to walk on their legs, but they do it with a sort of apology or defiance, and sometimes do it, if they can, by stealth. One is a saint or one is not; every man can choose the career that suits him; but to be saint and sinner at the same time requires singular ingenuity. For this reason, wise clergymen, whose tastes, though in themselves innocent, may give scandal to others, enjoy their relaxation, so far as they can, in privacy. Mr. Hazard liked the society of clever men and agreeable women; he was bound to keep an eye on the progress of his own church; he stepped not an inch outside the range of his clerical duty and privilege; yet ill-natured persons, and there were such in his parish, might say that he was carrying on a secular flirtation in his own church under the pretense of doing his duty. Perhaps he felt the risk of running into this peril. He invited no public attention to the manner in which he passed this part of his time, and never alluded to the subject in other company.

To make his incessant attention still more necessary, it happened that Hazard's knowledge and his library were often drawn upon by Wharton and his workmen. Not only was he learned in all matters which pertained to church arrangement and decoration, but his collection of books on the subject was the best in New York, and his library touched the church wall. Wharton had a quantity of his books in constant use, and was incessantly sending to consult about points of doubt. Hazard was bent upon having every thing correct, and complained sadly when he found that his wishes were not regarded. He lectured Wharton on the subject of early Christian art until he saw that Wharton would no longer listen, and then he went off to Miss Dudley, and lectured her.

Esther was not a good subject for instruction of this sort. She cared little for what the early Christians believed, either in religion or art, and she remembered nothing at all of his deep instruction on the inferences to be drawn from the contents of crypts and catacombs. The more earnest he became, the less could she make out his meaning. She could not reconcile herself to draw the attenuated figures and haggard forms of the early martyrs merely because they suited the style of church decoration; and she could see no striking harmony of relation between these ill-looking beings and the Fifth Avenue audience to whom they were supposed to have some moral or sentimental meaning. After one or two hesitating attempts to argue this point, she saw that it was useless, and made up her mind that as a matter of ordinary good manners, the least she could do was to treat Mr. Hazard civilly in his own church, and listen with respect to his lectures on Christian art. She even did her best to obey his wishes in all respects in which she understood them, but here an unexpected and confusing play of cross-purposes came in to mislead her. Wharton suddenly found that Hazard let Miss Dudley have her own way to an extent permitted to no one else. Esther was not conscious that the expression of a feeling or a wish on her part carried any special weight, but there could be no doubt that if Miss Dudley seemed to want any thing very much, Mr. Hazard showed no sense of shame in suddenly forgetting his fixed theories and encouraging her to do what she pleased. This point was settled when she had been some ten days at work trying to satisfy Wharton's demands, which were also Mr. Hazard's, in regard to the character and expression of St. Cecilia. Catherine was so earnest not to be made repulsive, and Esther's own tastes lay so strongly in the same direction, that when it came to the point, she could not force herself to draw such a figure as was required; she held out with a sort of feminine sweetness such as cried aloud for discipline, and there was no doubt that Wharton was quite ready to inflict it. In spite of Catherine, and Esther too, he would have carried his point, had Esther not appealed to Mr. Hazard; but this strenuous purist, who had worried Wharton and the building committee with daily complaints that the character of their work wanted spiritual earnestness, now suddenly, at a word from Miss Dudley, turned about and encouraged her, against Wharton's orders, to paint a figure, which, if it could be seen, which was fortunately not the case, must seem to any one who cared for such matters, out of keeping with all the work which surrounded it.

"Do you know," said Esther to Mr. Hazard, "that Mr. Wharton insists on my painting Catherine as though she were forty years old and rheumatic?"

"I know," he replied, glancing timidly towards the procession of stern and elderly saints and martyrs, finished and unfinished, which seemed to bear up the church walls. "Do you think she would feel at home here if she were younger or prettier?"

"No! Honestly, I don't think she would," said Esther, becoming bold as he became timid. "I will paint Cecilia eighty years old, if Mr. Wharton wants her so. She will have lost her touch on the piano, and her voice will be cracked, but if you choose to set such an example to your choir, I will obey. But I can't ask Catherine to sit for such a figure. I will send out for some old woman, and draw from her."

"I can't spare Miss Brooke," said Hazard hastily. "The church needs her. Perhaps you can find some middle way with Wharton."

"No! If I am to paint her at all, I must paint her as she is. There is more that is angelic in her face now, if I could only catch it, than there is in all Mr. Wharton's figures put together, and if I am to commit sacrilege, I would rather be untrue to Mr. Wharton, than to her."

"I believe you are right, Miss Dudley. There _is_ a little look of heaven in Miss Brooke's eyes. If you think you can put it into the St. Cecilia, why not try? If the experiment fails you can try again on another plan. After all, the drapery is the only part that needs to be very strictly in keeping."

Thus this despotic clergyman gave way and irritated Wharton, who, having promised to let him decide the dispute, was now suddenly overruled. He shrugged his shoulders and told Esther in private that he had struggled hard to get permission to do what she was doing, but only the sternest, strongest types would satisfy the church then. "It was all I could do to get them down to the thirteenth century," he said; "whenever I begged for beauty of form, they asked me whether I wanted the place to look like a theater."

"You know they're quite right," said Esther. "It has a terribly grotesque air of theater even now."

"It _is_ a theater," growled Wharton. "That is what ails our religion. But it is not the fault of our art, and if you had come here a little earlier, I would have made one more attempt. I would like now, even as it is, to go back to the age of beauty, and put a Madonna in the heart of their church. The place has no heart."

"I never could have given you help enough for that, Mr. Wharton; but what does it matter about my poor Cecilia? She does no harm up here. No one can see her, and after all it is only her features that are modern!"

"No harm at all, but I wish I were a woman like you. Perhaps I could have my own way."

Esther liked to have her own way. She had the instinct of power, but not the love of responsibility, and now that she found herself allowed to violate Wharton's orders and derange his plans, she became alarmed, asked no more favors, stuck closely to her work, and kept Catherine always at her side. She even tried to return on her steps and follow Wharton's wishes, until she was stopped by Catherine's outcry. Then it appeared that Wharton had gone over to her side. Instead of supporting Esther in giving severity to the figure, he wanted it to be the closest possible likeness of Catherine herself. Esther began to think that men were excessively queer and variable; the more she tried to please them, the less she seemed to succeed; but Mr. Wharton certainly took more interest in the St. Cecilia as it advanced towards completion, although it was not in the least the kind of work which he liked or respected.

Mr. Hazard took not so much interest in the painting. His pleasure in visiting their gallery seemed to be of a different sort. As Esther learned to know him better, she found that he was suffering from over-work and responsibility, and that the painters' gallery was a sort of refuge, where he escaped from care, for an entire change of atmosphere and thought. In this light Esther found him a very charming fellow, especially when he was allowed to have his own way without question or argument. He talked well; drew well; wrote well, and in case of necessity could even sing fairly well. He had traveled far and wide, and had known many interesting people. He had a sense of humor, except where his church was concerned. He was well read, especially in a kind of literature of which Esther had heard nothing, the devotional writings of the church, and the poetry of religious expression. Esther liked to pick out plums of poetry, without having to search for them on her own account, and as Hazard liked to talk even better than she to listen, they babbled on pleasantly together while Catherine read novels which Hazard chose for her, and which he selected with the idea of carrying her into the life of the past. There was an atmosphere of romance about her novels, and not about the novels alone.

_Chapter V_

While this ecclesiastical idyl was painting and singing itself in its own way, blind and deaf to the realities of life, this life moved on in its accustomed course undisturbed by idyls. The morning's task was always finished at one o'clock. At that hour, if the weather was fine, Mr. Dudley commonly stopped at the church door to take them away, and the rest of the day was given up to society. Esther and Catherine drove, made calls, dined out, went to balls, to the theater and opera, without interrupting their professional work. Under Mrs. Murray's potent influence, Catherine glided easily into the current of society and became popular without an effort. She soon had admirers. One young man, of an excellent and very old Dutch family, Mr. Rip Van Dam, took a marked fancy for her. Mr. Van Dam knew nothing of her, except that she was very pretty and came from Colorado where she had been brought up to like horses, and could ride almost any thing that would not buck its saddle off. This was quite enough for Mr. Van Dam whose taste for horses was more decided than for literature or art. He took Catherine to drive when the sleighing was good, and was flattered by her enthusiastic admiration of his beautiful pair of fast trotters. His confidence in her became boundless when he found that she could drive them quite as well as he. His success in winning her affections would have been greater if Catherine had not found his charms incessantly counteracted by the society of the older and more intelligent men, whom she never met at balls, but whom she saw every morning at the church, and whose tastes and talk struck her imagination. She liked Mr. Van Dam, but she laughed at him, which proved a thoughtless mind, for neither artists, clergymen nor professors were likely to marry her, as this young man might perhaps have done, under sufficient encouragement. When, towards the first of January, Catherine left Mrs. Murray, in order to stay with Esther, for greater convenience in the church work, Mr. Van Dam's attentions rather fell off. He was afraid of Esther, whom he insisted on regarding as clever, although Esther took much care never to laugh at him, for fear of doing mischief.

Catherine learned to play whist in order to amuse Mr. Dudley. They had small dinners, at which Hazard was sometimes present, and more often Strong, until he was obliged to go West to deliver a course of lectures at St. Louis. In spite of Mr. Dudley's supposed dislike for clergymen, he took kindly to Hazard and made no objection to his becoming a tame cat about the house. To make up a table at whist, Hazard did not refuse to take a hand; and said it was a part of his parochial duty. Mr. Dudley laughed and told him that if he performed the rest of his parochial duties equally ill, the parish should give him a year's leave of absence for purposes of study. Mr. Dudley disliked nothing so much as to be treated like an invalid, or to be serious, and Hazard gratified him by laughing at the doctors. They got on wonderfully well together, to the increasing amazement of Esther.

Card-playing and novel-reading were not the only cases in which Mr. Hazard took a liberal view of his functions. His theology belonged to the high-church school, and in the pulpit he made no compromise with the spirit of concession, but in all ordinary matters of indifference or of innocent pleasure he gave the rein to his instincts, and in regard to art he was so full of its relations with religion that he would admit of no divergence between the two. Art and religion might take great liberties with each other, and both be the better for it, as he thought.

His thirteenth-century ideas led him into a curious experiment which was quite in the thirteenth-century spirit. Catherine's insatiable spirit of coquetry was to blame, although it was not with him that she coquetted. Ready enough to try her youthful powers on most men, she had seemed to recognize by instinct that Mr. Hazard did not belong to her. Yet she could not rest satisfied without putting even him to some useful purpose of her own.

During Hazard's visits to the scaffold, he sometimes took up a pencil and drew. Once he drew a sketch of Wharton in the character of a monk with his brush and pallet in his hands. Catherine asked what connection there was between Mr. Wharton and a monastery.

"None!" replied Mr. Hazard; "but I like to think of church work as done by churchmen. In the old days he would have been a monk and would have painted himself among these figures on the walls."

Esther ventured to criticise Wharton's style; she thought it severe, monotonous, and sometimes strained.

"Wharton's real notion of art," said Hazard, "is a volcano. You may be a volcano at rest, or extinct, or in full eruption, but a volcano of some kind you have got to be. In one of his violent moods he once made me go over to Sicily with him, and dragged me to the top of Etna. It fascinated him, and I thought he meant to jump into it and pull me after him, but at that time he was a sort of used-up volcano himself."

"Then there is really something mysterious about his life?" asked Catherine.

"Only that he made a very unhappy marriage which he dislikes to think about," replied Hazard. "As an artist it did him good, but it ruined his peace and comfort, if he ever had any. He would never have made the mistake, if he had not been more ignorant of the world than any mortal that ever drew breath, but, as I was saying, a volcano was like a rattlesnake to him, and the woman he married was a volcano."

"What has become of her?" asked Esther.

"I have not dared to ask for years. No one seems to know whether she is living or dead."

"Did he leave her?"

"No; she left him. He was to the last fascinated by her, so much so that, after she left him, when I persuaded him to quit Paris, he insisted on going to Avignon and Vaucluse, because Petrarch had been under the same sort of fascination, and Wharton thought himself the only man in the world who could understand Petrarch. If you want to insult him and make him bitterly hate you, tell him that Laura was a married woman with a dozen children."

"Who was Laura?" asked Catherine; "and why should she not have a dozen children?"

"Laura was a beautiful girl with golden hair and a green dress whom Petrarch first saw in a church at Avignon," answered Hazard. "She was painted among the frescoes of the cathedral, as you are being painted now, Miss Brooke; and Petrarch wrote some hundreds of sonnets about her which Wharton undertook to translate, and made me help him. We were both poets then."

"I want to hear those sonnets," said Catherine, quite seriously, as though the likeness between herself and Laura had struck her as the most natural thing in the world. "Can you remember them?"

"I think I could. Don't find fault with me if you dislike the moral. I approve it because, like Petrarch, I am a bit of a churchman, but I don't know what you may think of a lover who begins by putting his mistress on the same footing with his deity and ends by groaning over the time he has thrown away on her."

"Not to her face?" said Esther.

"Worse! He saw her in church and wrote to her face something like this:

'As sight of God is the eternal life, Nor more we ask, nor more to wish we dare, So, lady, sight of thee,'

and so on, or words to that effect. Yet after she was dead he said he had wasted his life in loving her. I remember the whole of the sonnet because it cost me two days' labor in the railway between Avignon and Nice. It runs like this:--

'For my lost life lamenting now I go, Which I have placed in loving mortal thing, Soaring to no high flight, although the wing Had strength to rise and loftier sweep to show. Oh! Thou that seest my mean life and low! Invisible! Immortal! Heaven's king! To this weak, pathless spirit, succor bring, And on its earthly faults thy grace bestow! That I, who lived in tempest and in fear, May die in port and peace; and if it be That life was vain, at least let death be dear! In these few days that yet remain to me, And in death's terrors, may thy hand be near! Thou knowest that I have no hope but thee!'

In the Italian this is very great poetry, Miss Brooke, and if you don't think it so in my English, try and see if you can do better."

"Very well," said Catherine, coolly. "I've no doubt we can do it just as well as you and Mr. Wharton. Can't we, Esther?"

"You are impudent enough to make St. Cecilia blush," said Esther, who happened to be wondering whether she might dare to put a little blush into the cheeks of the figure on which she was painting. "You never read a word of Italian in your little life."

"No! But you have!" replied Catherine, as though this were final.

"The libretto of Lucia!" said Esther with scorn.

"No matter!" resumed Catherine. "Bring me the books, Mr. Hazard, and I will translate one of those sonnets if I have to shut up Esther in a dark closet."

"Catherine! Don't make me ridiculous!" said Esther; but Catherine was inspired by an idea, and would not be stopped.

"Bring me the volume now, Mr. Hazard! You shall have your sonnet for Sunday's sermon."

"Don't do it, Mr. Hazard!" exhorted Esther solemnly. "It is one of her Colorado jokes. She does not know what a sonnet is. She thinks it some kind of cattle-punching."

"If I do not give you that sonnet," cried Catherine, "I will give you leave to have me painted as much like an old skeleton as Mr. Wharton chooses."

"Done!" said Hazard, who regarded this as at least one point worth gaining. "You shall have the books. I want to see Wharton's triumph."

"But if I do poetry for you," continued Catherine, "you must do painting for me."

"Very well!" said Hazard. "What shall it be?"

"If I am Laura," said Catherine, "I must have a Petrarch. I want you to put him up here on the wall, looking at me, as he did in the church where he first saw me."

"But what will Wharton and the committee say?" replied Hazard, startled at so monstrous a demand.

"I don't believe Mr. Wharton will object," answered Catherine. "He will be flattered. Don't you see? He is to be Petrarch."

"Oh!" cried Hazard, with a stare. "Now I understand. You want me to paint Wharton as a scriptural character looking across to Miss Dudley's Cecilia."

"You are very slow!" said Catherine. "I think you might have seen it without making me tell you."

To a low-church evangelical parson this idea might have seemed inexpressibly shocking, but there was something in it which, after a moment's reflection, rather pleased Hazard. It was the sort of thing which the Florentines did, and there was hardly an early church in Italy about whose walls did not cling the colors of some such old union of art and friendship in the service of religion. Catherine's figure was already there. Why not place Wharton's by its side and honor the artist who had devoted so large a share of his life to the service of the church, with, it must be confessed, a very moderate share of worldly profit. The longer Hazard thought of it, the less he saw to oppose. His tastes were flattered by the idea of doing something with his own hand that should add to the character and meaning of the building. His imagination was so pleased with the notion that at last he gave his consent:--"Very well, Miss Brooke! I will draw a figure for this next vacant space, and carry it as far as I know how. If Wharton objects he can efface it. But Miss Dudley will have to finish it for me, for I can't paint, and Wharton would certainly stop me if I tried."

Although this pretty bargain which seemed so fair, really threw on Esther the whole burden of writing sonnets and painting portraits for the amusement of Catherine and Mr. Hazard, Catherine begged so hard that she at last consented to do her best, and her consent so much delighted Hazard that he instantly searched his books for a model to work from, and as soon as he found one to answer his purpose, he began with Esther's crayons to draw the cartoon of a large figure which was to preserve under the character of St. Luke the memory of Wharton's features. When Wharton came next to inspect Esther's work, he was told that Mr. Hazard wished to try his hand on designing a figure for the vacant space, and he criticised and corrected it as freely as the rest. For such a task Hazard was almost as competent as Wharton, from the moment the idea was once given, and in this dark corner it mattered little whether a conventional saint were more or less correct.