Chambers's Edinburgh Journal, No. 454. Various
to more recent days, in the stock of fly-away English projected railways. To the mass of monetary sensations of the kind, we fear, must be added at the present day those produced by betting-offices. In these swindling dens, it is by no means uncommon to see children, whose heads hardly come above the counter, staking their shillings; even servant-maids haunt the 'office;' working-men abound, and clerks and shop-boys are great customers. Among these people, there ought to be a good crop of monetary sensations. In success, the little man-boy sees a grand vision of cheap cigars, and copper and paste jewellery; for the urchin early initiated in practical London-life, thinks of such things, and worse, when the country lad of the same age would dream of nothing beyond kites, fishing-tackle, or perhaps a gun. Molly, the housemaid, has her prospects of unbounded 'loves of dresses' and 'ducks of bonnets;' and the clerk and the shopman very possibly count upon their racing gains as the fruitful origin of 'sprees' and 'larks' innumerable. On the other hand, how has the money staked been acquired? The pawnbroker's shop and the till will very frequently figure in the answer. Pilfered half-crowns, or perhaps sovereigns, kept back from collected accounts; or, in domestic service, pledged spoons and forks, are frequently at the bottom of the betting transactions of these 'noble sportsmen.' Then comes the period of anticipation, and hope and fear. Bright visions of luck, on one hand; a black and down-sloping avenue, stopping at the jail door, on the other. Luck—and the stolen property can be replaced, with a handsome profit; the reverse—and the police-office, the magistrate, and the sessions, float before the tortured imagination of the 'sportsman.' Here, then, are some of the saddest, and—whether the result in any case be winning or losing—the most wearing and degrading of monetary sensations.
We turn, however, to a concluding and a more cheering experience connected with money, and which may be regarded as a sequel to the sensation of the first earnings. We allude to the first interest, to the receipt of the first sum which properly belongs to the recipient, and yet for which he has not immediately and directly toiled. Here another great step has been achieved. To earn money, was the first triumph; to make money earn money, is the second. There is something more significantly pleasing in the sensation with which the young up-struggler of the world receives his first instalment of interest, and yet remembers that all his original investment is still entire, than in all the lazy satisfaction with which a great stockholder—born perhaps to stockholding—gathers in his mighty dividends. For the first time, the former begins to feel a taste, just a taste, of the sweets of property, of the fruits of realisation, and of the double profits which labour, judiciously managed, will at length bestow. It is getting money for which he has worked and yet not worked, it is picking up the returning bread thrown upon the waters; and it is the first experienced sensation of a stable and assured position, of standing upon one's own feet, independent more or less absolutely of the caprices of fortune and the liking of employers. The first received amount of interest, however small it may be, assuredly calls up one of the not easily-forgotten eras of a man's life. There is nothing selfish or miserly in the fact. On the contrary, it is founded upon pure and natural feelings and impulses. The most generous man in the world likes to prosper, and the first received sum which his own money has bred, is a palpable proof that he is prospering. From his childish pose, he can recall the mental results attendant upon each step of his worldly career, and look back with interest and curiosity over what, in the course of his life, may have been his 'Monetary Sensations.'
THE POSTHUMOUS PORTRAIT
A country town is not a very hopeful arena for the exercise of the portrait-painter's art. Supposing an artist to acquire a local celebrity in such a region, he may paint the faces of one generation, and then, haply finding a casual job once a year or so, may sit down and count the hours till another generation rises up and supplies him with a second run of work. In a measure, the portrait-painter must be a rolling-stone, or he will gather no moss. So thought Mr Conrad Merlus, as he packed up his property, and prepared to take himself off from the town of C–, in Wiltshire, to seek fresh fields and pastures new, where the sun might be disposed to shine upon portrait-painting, and where he might manage to make hay the while. Conrad was a native of C–. In that congenial spot he had first pursued the study of his art, cheered by the praises of the good folks around him, and supported by their demands upon his talents. While, in a certain fashion, he had kept the spirit of art alive in the place, the spirit of art, in return, had kept him alive. But now all the work was done for a long time to come; every family had its great portraits, and would want him no more yet awhile; and Conrad saw, that if he could not turn his hand to something else, and in place of pencils and brushes, work with last, spade, needle, or quill, make shoes, coats, till the ground, or cast up accounts, he should shortly be hardly put to it to keep himself going. He had made and saved a pretty tolerable little purse during his short season of patronage, and determined to turn that to account in seeking, in other places, a continuation of commissions. His father and mother were both dead, and, so far as he knew, he had no near relative alive. Therefore, there were no ties, save those of association, to bind him to his native place—'No ties,' sighed Conrad, 'no ties at all.'
It was Monday evening, and the next day, Tuesday, was to behold his departure. His rent was paid, his traps were all packed up in readiness, and he had nothing to think about, saving whither he should proceed. He walked out, for the last time, into the little garden behind the modest house in which he had dwelt, pensive and somewhat triste; for one cannot, without sorrowful emotions of some sort, leave, perhaps for ever, a spot in which the stream of life has flowed peacefully and pleasantly for many years, and where many little enjoyments, successes, and triumphs have been experienced. Even a Crusoe cannot depart from his desolate island without a pang, although he goes, after years of miserable solitude, to rejoin the human family. It was the month of August, and the glory of the summer was becoming mellowed and softened. The nights were gradually growing longer and the days shorter, the reapers were in the harvest-fields, the woods and groves were beginning to shew the autumn tint, the sun sank behind the hills earlier and earlier day by day, and the broad harvest-moon reigned throughout the sweet and fragrant nights. Conrad felt the influence of the season, and though he had for some time contemplated his departure from his home with all the cheerfulness which the spirit of adventure imparts to young men, he now, as the time arrived, felt inclined to weep over the separation. He was indulging in reveries of a mournful complexion, when he observed his landlady leave the house, and, entering the garden, bustle towards him in a great hurry. Assured by the manner of the worthy old lady that he was wanted, and urgently, by some one or other, he rose from the rustic seat on which he had been sitting, and went to meet her. A gentleman had called to see him, in a phaeton, and was waiting in the parlour in a state of impatience and excitement which Mrs Farrell had never seen the like of. Wondering who the visitor could be, Conrad hastened into the parlour. He found there an elderly individual of gentlemanly appearance, who was walking to and fro restlessly, and whose countenance and demeanour bore affecting evidences of agitation and sorrow. He approached Conrad quickly.
'You are a portrait-painter, Mr Merlus?'
'Yes, sir.'
'The only one, I believe, in this neighbourhood?'
'Yes.'
'I am anxious,' continued the gentleman, speaking in a low tone, and with a tremulous earnestness that rendered his speech peculiarly emphatic—'I am anxious to have painted the portrait of one who is—who was—very very dear to me, immediately—immediately, for a few hours may make such a performance impossible. May I beg that you will submit to some sacrifice of convenience—that you will be good enough to set aside your arrangements for a day or two to execute this work? Do so, and you shall find that you have lost nothing.'
'Without entertaining any consideration of that sort, sir,' answered Conrad, deeply touched by the manner of his visitor, which betokened recent and heavy affliction, 'my best abilities, such as they are, are immediately at your service.'
'Many thanks,' answered the gentleman, pressing his hand warmly. 'Had you declined, I know not what I should have done; for there is no other of the profession in this neighbourhood, and there is no time to seek further. Come; for Heaven's sake, let us hasten.'
Conrad immediately gave the necessary intimation to his landlady; his easel, pallet, and painting-box were quickly placed in the phaeton; the gentleman and himself took their places inside; and the coachman drove off at as great a pace as a pair of good