Artists -- Fiction; England -- Social life and customs -- 19th century -- Fiction; London (England) -- Fiction
himself; and instead of a bell-handle there hung a hare's-foot, beneath
which was gummed a paper label with a written inscription "Tug the
trotter."
Three days after the gathering at the Titian Sketching-Club, Mr.
Potts sat in his studio, smoking a pipe, and glaring vacantly at a
picture on an easel in front of him. It was not a comfortable room;
its owner's warmest friend could not have asserted that. There was
no carpet, and the floor was begrimed with the dirt of ages, and
with spilt tobacco and trodden-in cigar-ash. The big window was half
stopped-up, and had no curtain. An old oak-cabinet against the wall,
surmounted by the inevitable plaster torso, and studies of hands
and arms, had lost one of its supporting feet, and looked as though
momentarily about to topple forward. A table in the middle of the room
was crowded with litter, amongst which a pewter-pot reared itself
conspicuously. Over an old sofa were thrown a big rough Inverness-cape,
a wideawake hat, and a thick stick; while on a broken, ragged, but
theatrically-tawdry arm-chair, by the easel, were a big palette already
"set," a colour-box, and a sheaf of brushes. Mr. Potts was dressed in
a shepherd's-plaid shooting coat, adorned here and there with dabs of
paint, and with semi-burnt brown patches, the result of the incautious
dropping of incandescent tobacco and vesuvians. He had on a pair of
loose rough trousers, red-morocco slippers without heels, and he wore
no neckcloth; but his big turned-down shirt-collar was open at the
throat. He wore no beard, but had a large sweeping Austrian moustache,
which curled fiercely at the ends; had thin brown hair, light blue
eyes, and the freshest and healthiest of complexions. No amount of
late hours, of drinking and smoking, could apparently have any effect
on this baby-skin; and under the influence of cold water and yellow
soap, both of which he used in large quantities, he seemed destined
to remain--so far as his complexion was concerned--"beautiful for
ever,"--or at least until long after Madame Rachel's clients had seen
the worthlessness of pigments. Looking at him as he sat there--his
back bent nearly double, his eyes fixed on his picture, his pipe fixed
stiffly between his teeth, and his big bony hands clasped in front
of him--there was no mistaking him for anything but a gentleman;
ill-dressed, slatternly, if you like; but a true gentleman, every inch
of him.
The "trotter" outside being tugged with tremendous violence, roused
him from his reverie, and he got up and opened the door, saying, as
he did so, "Why didn't you ring? I would, if I'd been you. You're in
the bell-hanging line, I should think, by the way you jerked my wire.
Hollo, Bowker, my boy! is it you? What's the matter? Are you chivied by
a dun on the staircase, or fainting for a pull at the pewter, that you
come with such a ring as that? Bring your body in, old man; there's a
wind here enough to shave you."
Public-domain text, read in full here on John Shaqi.
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