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I

It was one of the secret opinions, such as we all have, of Peter Brench that his main success in life would have consisted in his never having committed himself about the work, as it was called, of his friend Morgan Mallow. This was a subject on which it was, to the best of his belief, impossible with veracity to quote him, and it was nowhere on record that he had, in the connexion, on any occasion and in any embarrassment, either lied or spoken the truth. Such a triumph had its honour even for a man of other triumphs–a man who had reached fifty, who had escaped marriage, who had lived within his means, who had been in love with Mrs Mallow for years without breathing it, and who, last but not least, had judged himself once for all. He had so judged himself in fact that he felt an extreme and general humility to be his proper portion; yet there was nothing that made him think so well of his parts as the course he had steered so often through the shallows just mentioned. It became thus a real wonder that the friends in whom he had most confidence were just those with whom he had most reserves. He couldn’t tell Mrs Mallow–or at least he supposed, excellent man, he couldn’t–that she was the one beautiful reason he had never married; any more than he could tell her husband that the sight of the multiplied marbles in that gentleman’s studio was an affliction of which even time had never blunted the edge. His victory, however, as I have intimated, in regard to these productions, was not simply in his not having let it out that he deplored them; it was, remarkably, in his not having kept it in by anything else.

The whole situation, among these good people, was verily a marvel, and there was probably not such another for a long way from the spot that engages us–the point at which the soft declivity of Hampstead began at that time to confess in broken accents to Saint John’s Wood. He despised Mallow’s statues and adored Mallow’s wife, and yet was distinctly fond of Mallow, to whom, in turn, he was equally dear. Mrs Mallow rejoiced in the statues–though she preferred, when pressed, the busts; and if she was visibly attached to Peter Brench it was because of his affection for Morgan. Each loved the other moreover for the love borne in each case to Lancelot, whom the Mallows respectively cherished as their only child and whom the friend of their fireside identified as the third–but decidedly the handsomest–of his godsons. Already in the old years it had come to that–that no one, for such a relation, could possibly have occurred to any of them, even to the baby itself, but Peter. There was luckily a certain independence, of the pecuniary sort, all round: the Master could never otherwise have spent his solemn Wanderjahre in Florence and Rome, and continued by the Thames as well as by the Arno and the Tiber to add unpurchased group to group and model, for what was too apt to prove in the event mere love, fancy-heads of celebrities either too busy or too buried–too much of the age or too little of it–to sit. Neither could Peter, lounging in almost daily, have found time to keep the whole complicated tradition so alive by his presence. He was massive but mild, the depositary of these mysteries–large and loose and ruddy and curly, with deep tones, deep eyes, deep pockets, to say nothing of the habit of long pipes, soft hats and brownish greyish weather-faded clothes, apparently always the same.

He had ‘written’, it was known, but had never spoken, never spoken in particular of that; and he had the air (since, as was believed, he continued to write) of keeping it up in order to have something more–as if he hadn’t at the worst enough–to be silent about. Whatever his air, at any rate, Peter’s occasional unmentioned prose and verse were quite truly the result of an impulse to maintain the purity of his taste by establishing still more firmly the right relation of fame to feebleness. The little green door of his domain was in a garden-wall on which the discoloured stucco made patches, and in the small detached villa behind it everything was old, the furniture, the servants, the books, the prints, the immemorial habits and the new improvements. The Mallows, at Carrara Lodge, were within ten minutes, and the studio there was on their little land, to which they had added, in their happy faith, for building it. This was the good fortune, if it was not the ill, of her having brought him in marriage a portion that put them in a manner at their ease and enabled them thus, on their side, to keep it up. And they did keep it up–they always had–the infatuated sculptor and his wife, for whom nature had refined on the impossible by relieving them of the sense of the difficult. Morgan had at all events everything of the sculptor but the spirit of Phidias–the brown velvet, the becoming beretto, the ‘plastic’ presence, the fine fingers, the beautiful accent in Italian and the old Italian factotum. He seemed to make up for everything when he addressed Egidio with the ‘tu’ and waved him to turn one of the rotary pedestals of which the place was full. They were tremendous Italians at Carrara Lodge, and the secret of the part played by this fact in Peter’s life was in a large degree that it gave him, sturdy Briton as he was, just the amount of ‘going abroad’ he could bear. The Mallows were all his Italy, but it was in a measure for Italy he liked them. His one worry was that Lance–to which they had shortened his godson–was, in spite of a public school, perhaps a shade too Italian. Morgan meanwhile looked like somebody’s flattering idea of somebody’s own person as expressed in the great room provided at the Uffizi Museum for the general illustration of that idea by eminent hands. The Master’s sole regret that he hadn’t been born rather to the brush than to the chisel sprang from his wish that he might have contributed to that collection.