‘Ah! Leander!’ said Lord Eskdale, in a more interested tone. ‘What does he want?’
‘I have not seen him,’ said Mr. Harris; ‘but Mr. Prevost tells me that his feelings are hurt.’
‘I hope he has not struck,’ said Lord Eskdale, with a comical glance.
‘Something of that sort,’ said Mr. Harris, very seriously.
Lord Eskdale had a great sympathy with artists; he was well acquainted with that irritability which is said to be the characteristic of the creative power; genius always found in him an indulgent arbiter. He was convinced that if the feelings of a rare spirit like Leander were hurt, they were not to be trifled with. He felt responsible for the presence of one so eminent in a country where, perhaps, he was not properly appreciated; and Lord Eskdale descended to the steward’s room with the consciousness of an important, probably a difficult, mission.
The kitchen of Montacute Castle was of the old style, fitted for baronial feasts. It covered a great space, and was very lofty. Now they build them in great houses on a different system; even more distinguished by height, but far more condensed in area, as it is thought that a dish often suffers from the distances which the cook has to move over in collecting its various component parts. The new principle seems sound; the old practice, however, was more picturesque. The kitchen at Montacute was like the preparation for the famous wedding feast of Prince Riquet with the Tuft, when the kind earth opened, and revealed that genial spectacle of white-capped cooks, and endless stoves and stewpans. The steady blaze of two colossal fires was shrouded by vast screens. Everywhere, rich materials and silent artists; business without bustle, and the all-pervading magic of method. Philippon was preparing a sauce; Dumoreau, in another quarter of the spacious chamber, was arranging some truffles; the Englishman, Smit, was fashioning a cutlet. Between these three generals of division aides-de-camp perpetually passed, in the form of active and observant marmitons, more than one of whom, as he looked on the great masters around him, and with the prophetic faculty of genius surveyed the future, exclaimed to himself, like Cor-reggio, ‘And I also will be a cook.’
In this animated and interesting scene was only one unoccupied individual, or rather occupied only with his own sad thoughts. This was Papa Prevost, leaning against rather than sitting on a dresser, with his arms folded, his idle knife stuck in his girdle, and the tassel of his cap awry with vexation. His gloomy brow, however, lit up as Mr. Harris, for whom he was waiting with anxious expectation, entered, and summoned him to the presence of Lord Eskdale, who, with a shrewd yet lounging air, which concealed his own foreboding perplexity, said, ‘Well, Prevost, what is the matter? The people here been impertinent?’
Prevost shook his head. ‘We never were in a house, my lord, where they were more obliging. It is something much worse.’
‘Nothing wrong about your fish, I hope? Well, what is it?’
‘Leander, my lord, has been dressing dinners for a week: dinners, I will be bound to say, which were never equalled in the Imperial kitchen, and the duke has never made a single observation, or sent him a single message. Yesterday, determined to outdo even himself, he sent up some escalopes de laitances de carpes à la Bellamont. In my time I have seen nothing like it, my lord. Ask Philippon, 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