The Fortunes of Oliver Horn [58]
memory of the uproar remained. As he caught sight of the broken pieces of china still littering the carpet, and recalled McFudd's sprawling figure, a slight color suffused his cheek.
The room itself, in the light of day, was not only cold and uninviting, but so bare of even the commonest comforts that Oliver shivered. The bottoms were half out of the chairs; the painted wash-stand stood on a square of chilly oil-cloth; the rusty grate and broken hearth were unswept of their ashes; the carpet patched and threadbare. He wondered, as he studied each detail, how Miss Teetum could expect her boarders to be contented in such quarters.
He saw at a glance how much more cosey and restful the room might be made with the addition of a few touches here and there; a colored print or two-- a plaster cast--a bit of cheap stuff or some gay-colored cushions. It surprised him, above all, to discover that Fred, who was studying art and should, therefore, be sensitive to such influences, was willing to live amid such desolate surroundings.
When he stepped out into the square hall, the scene of the night's revelry, and glanced about him, the crude bareness and reckless disorder that the merciful glow of the gas-light and its attendant shadows had kindly concealed, stood out in bold relief under the white light of the day now streaming through an oval skylight immediately above the piano. The floor was strewn with the various properties of the night's performance--overturned stools, china mugs, bits of lemon-peel, stumps of cigars, and stray pipes; while scattered about under the piano and between the legs of the chairs, and even upon the steps of the staircase, were the pieces of coal which Fog-horn Cranch and Waller, who held the scuttle, had pounded into bits when they produced that wild jangle which had added so much of dignity and power to the bass notes of the Dead Man's Chorus.
These cold facts aroused in Oliver a sense of repugnance which he could not shake off. It was as if the head of some jolly clown of the night before had been suddenly thrust through the canvas of the tent in broad daylight, showing the paint, the wrinkles beneath, the yellow teeth, and the coarse mouth.
Oliver was about to turn back to Fred's room, this feeling of revolt strong upon him, when his attention was arrested by a collection of drawings that covered almost every square inch of the ceiling. To his astonishment he discovered that what in the smoke of the night before he had supposed to be only hasty sketches scrawled over the white plaster, were in reality, now that he saw them in a clearer atmosphere, effective pictures in pastel, oil, and charcoal. That the basis of these cartoons was but the grimy stain made by the water which had beaten through the rickety sash during the drive and thrash of winter storms, flooding the whitewashed ceiling and trickling down the side-walls in smears of brown rust, did not lessen their value in his eyes.
Closer inspection showed him that these discolorations --some round or curved, others straight or angular--had been altered and amended as the signatures indicated by the deft pencils of Waller, Fred, Bowdoin, and the others, into flying Cupids, Dianas, Neptunes, and mermaids fit to grace the ceiling of a salon if properly enlarged; while the up-and-down smears had suggested the opportunity for caricaturing half the boarders of the house. Every fresh leak and its accompanying stains evidently presented a new problem to the painters, and were made the subject of prolonged study and much consultation before a brush was permitted to touch them, the point apparently being to help the discolorations express themselves with the fewest possible touches.
In addition to these decorations overhead, Oliver found, framed in on the cleaner plaster of the side- walls, between broad bands of black paint, several taking bits of landscape in color and black and white; stretches of coast with quaint boats and dots of figures; winter wood interiors with white plaster for snow and scrapings of charcoal
The room itself, in the light of day, was not only cold and uninviting, but so bare of even the commonest comforts that Oliver shivered. The bottoms were half out of the chairs; the painted wash-stand stood on a square of chilly oil-cloth; the rusty grate and broken hearth were unswept of their ashes; the carpet patched and threadbare. He wondered, as he studied each detail, how Miss Teetum could expect her boarders to be contented in such quarters.
He saw at a glance how much more cosey and restful the room might be made with the addition of a few touches here and there; a colored print or two-- a plaster cast--a bit of cheap stuff or some gay-colored cushions. It surprised him, above all, to discover that Fred, who was studying art and should, therefore, be sensitive to such influences, was willing to live amid such desolate surroundings.
When he stepped out into the square hall, the scene of the night's revelry, and glanced about him, the crude bareness and reckless disorder that the merciful glow of the gas-light and its attendant shadows had kindly concealed, stood out in bold relief under the white light of the day now streaming through an oval skylight immediately above the piano. The floor was strewn with the various properties of the night's performance--overturned stools, china mugs, bits of lemon-peel, stumps of cigars, and stray pipes; while scattered about under the piano and between the legs of the chairs, and even upon the steps of the staircase, were the pieces of coal which Fog-horn Cranch and Waller, who held the scuttle, had pounded into bits when they produced that wild jangle which had added so much of dignity and power to the bass notes of the Dead Man's Chorus.
These cold facts aroused in Oliver a sense of repugnance which he could not shake off. It was as if the head of some jolly clown of the night before had been suddenly thrust through the canvas of the tent in broad daylight, showing the paint, the wrinkles beneath, the yellow teeth, and the coarse mouth.
Oliver was about to turn back to Fred's room, this feeling of revolt strong upon him, when his attention was arrested by a collection of drawings that covered almost every square inch of the ceiling. To his astonishment he discovered that what in the smoke of the night before he had supposed to be only hasty sketches scrawled over the white plaster, were in reality, now that he saw them in a clearer atmosphere, effective pictures in pastel, oil, and charcoal. That the basis of these cartoons was but the grimy stain made by the water which had beaten through the rickety sash during the drive and thrash of winter storms, flooding the whitewashed ceiling and trickling down the side-walls in smears of brown rust, did not lessen their value in his eyes.
Closer inspection showed him that these discolorations --some round or curved, others straight or angular--had been altered and amended as the signatures indicated by the deft pencils of Waller, Fred, Bowdoin, and the others, into flying Cupids, Dianas, Neptunes, and mermaids fit to grace the ceiling of a salon if properly enlarged; while the up-and-down smears had suggested the opportunity for caricaturing half the boarders of the house. Every fresh leak and its accompanying stains evidently presented a new problem to the painters, and were made the subject of prolonged study and much consultation before a brush was permitted to touch them, the point apparently being to help the discolorations express themselves with the fewest possible touches.
In addition to these decorations overhead, Oliver found, framed in on the cleaner plaster of the side- walls, between broad bands of black paint, several taking bits of landscape in color and black and white; stretches of coast with quaint boats and dots of figures; winter wood interiors with white plaster for snow and scrapings of charcoal