Dora Thorne [31]
of the home she had left in far-off England--where she had been loved and worshiped by her rough, homely, honest father and a loving mother; thinking too, of Ralph, and his pretty, quiet homestead in the green fields, where she would have been honored as its mistress, where no fine ladies would have vexed her with questions, and no one would have thought her ignorant or awkward; thinking of all these things, yet loving Ronald none the less, except that a certain kind of fear began to mingle with her love.
Gradually, slowly, but surely, the fascination of the gay and brilliant society in which Ronald was so eagerly courted laid hold of him. He did not sin willfully or consciously; little by little a distaste for his own home and a weariness of Dora's society overcame him. He was never unkind to her, for Ronald was a gentleman; but he lingered no more through the long sunny morning by her side. He gave up all attempts to educate her. He ceased to tease her about books; he never offered to read to her; and pretty, simple Dora, taught by the keen instinct of love, noted it all.
Ronald saw some little change in her. The dimples and smiles had almost vanished from her face. He seldom heard the laugh that had once been so sweet to him. There was retiring grace in her manner that suited her well. He thought she was catching the "tone of good society," and liked the change.
Some natures become ennobled under the pressure of adversity; but limited means and petty money cares had no good effect upon Ronald Earle. He fretted under them. He could do nothing as other people did. He could not purchase a magnificent bouquet for the countess; his means would not permit it. He could not afford a horse such as all his gentlemen friends rode. Adversity developed no good qualities in him; the discipline was harder and sterner still that made of him a true man at last.
Ronald went on with his painting fitfully, sometimes producing a good picture, but often failing.
The greatest patron of the fine arts in Florence was the Prince di Borgezi. His magnificent palace was like one picture gallery. He saw some sketches of Ronald's, and gave an order to him to paint a large picture, leaving him to choose the subject. In vain by night and by day did Ronald ponder on what that subject should be. He longed to make his name immortal by it. He thought once of Tennyson's "Dora," and of sketching his wife for the principal figure. He did make a sketch, but he found that he could not paint Dora's face; he could not place the dimpling smiles and bright blushes on canvas, and they were the chief charm. He therefore abandoned the idea.
Standing one day where the sunbeams fell lightly through the thick myrtles, an inspiration came to him. He would paint a picture of Queen Guinevere in her gay sweet youth and bright innocent beauty--Guinevere with her lovely face and golden hair, the white plumes waving and jewels flashing; the bright figure on the milk-white palfrey shining in the mellow sunlight that came through the green trees.
Lancelot should ride by her side; he could see every detail of the picture; he knew just the noble, brave, tender face Sir Lancelot should have; but where could he find a model for Guinevere? Where was there a face that would realize his artist dreams of her? The painting was half completed before he thought of Valentine Charteris and her magnificent blonde beauty--the very ideal of Queen Guinevere.
With renewed energy Ronald set to work. Every feature of that perfect face was engraved upon his mind. He made sketch after sketch, until, in its serene, sweet loveliness, Valentine's face smiled upon him.
Chapter XI
"Queen Guinevere" was a success far beyond Ronald's dearest hopes. Artists and amateurs, connoisseurs of all ranks and degrees were delighted with it. The great charm of the picture was the lovely young face. "Whom was it like? Where had he found his model?" "Was ever any woman so perfectly beautiful?:" Such were the questions that people never seemed tired of repeating.
Gradually, slowly, but surely, the fascination of the gay and brilliant society in which Ronald was so eagerly courted laid hold of him. He did not sin willfully or consciously; little by little a distaste for his own home and a weariness of Dora's society overcame him. He was never unkind to her, for Ronald was a gentleman; but he lingered no more through the long sunny morning by her side. He gave up all attempts to educate her. He ceased to tease her about books; he never offered to read to her; and pretty, simple Dora, taught by the keen instinct of love, noted it all.
Ronald saw some little change in her. The dimples and smiles had almost vanished from her face. He seldom heard the laugh that had once been so sweet to him. There was retiring grace in her manner that suited her well. He thought she was catching the "tone of good society," and liked the change.
Some natures become ennobled under the pressure of adversity; but limited means and petty money cares had no good effect upon Ronald Earle. He fretted under them. He could do nothing as other people did. He could not purchase a magnificent bouquet for the countess; his means would not permit it. He could not afford a horse such as all his gentlemen friends rode. Adversity developed no good qualities in him; the discipline was harder and sterner still that made of him a true man at last.
Ronald went on with his painting fitfully, sometimes producing a good picture, but often failing.
The greatest patron of the fine arts in Florence was the Prince di Borgezi. His magnificent palace was like one picture gallery. He saw some sketches of Ronald's, and gave an order to him to paint a large picture, leaving him to choose the subject. In vain by night and by day did Ronald ponder on what that subject should be. He longed to make his name immortal by it. He thought once of Tennyson's "Dora," and of sketching his wife for the principal figure. He did make a sketch, but he found that he could not paint Dora's face; he could not place the dimpling smiles and bright blushes on canvas, and they were the chief charm. He therefore abandoned the idea.
Standing one day where the sunbeams fell lightly through the thick myrtles, an inspiration came to him. He would paint a picture of Queen Guinevere in her gay sweet youth and bright innocent beauty--Guinevere with her lovely face and golden hair, the white plumes waving and jewels flashing; the bright figure on the milk-white palfrey shining in the mellow sunlight that came through the green trees.
Lancelot should ride by her side; he could see every detail of the picture; he knew just the noble, brave, tender face Sir Lancelot should have; but where could he find a model for Guinevere? Where was there a face that would realize his artist dreams of her? The painting was half completed before he thought of Valentine Charteris and her magnificent blonde beauty--the very ideal of Queen Guinevere.
With renewed energy Ronald set to work. Every feature of that perfect face was engraved upon his mind. He made sketch after sketch, until, in its serene, sweet loveliness, Valentine's face smiled upon him.
Chapter XI
"Queen Guinevere" was a success far beyond Ronald's dearest hopes. Artists and amateurs, connoisseurs of all ranks and degrees were delighted with it. The great charm of the picture was the lovely young face. "Whom was it like? Where had he found his model?" "Was ever any woman so perfectly beautiful?:" Such were the questions that people never seemed tired of repeating.