Short Fiction - Nikolai Gogol (best selling autobiographies TXT) 📗

along the pavement, levelling his eyeglass at everybody. On the bridge he caught sight of his former professor, and slipped past him neatly, as if he did not see him, so that the astounded professor stood stock-still on the bridge for a long time, with a face suggestive of a note of interrogation.

All his goods and chattels, everything he owned, easels, canvas, pictures, were transported that same evening to his elegant quarters. He arranged the best of them in conspicuous places, threw the worst into a corner, and promenaded up and down the handsome rooms, glancing constantly in the mirrors. An unconquerable desire to take the bull by the horns, and show himself to the world at once, had arisen in his mind. He already heard the shouts, “Tchartkoff! Tchartkoff! Tchartkoff paints! What talent Tchartkoff has!” He paced the room in a state of rapture.

The next day he took ten ducats, and went to the editor of a popular journal asking his charitable assistance. He was joyfully received by the journalist, who called him on the spot, “Most respected sir,” squeezed both his hands, and made minute inquiries as to his name, birthplace, residence. The next day there appeared in the journal, below a notice of some newly invented tallow candles, an article with the following heading:⁠—

“Tchartkoff’s Immense Talent

“We hasten to delight the cultivated inhabitants of the capital with a discovery which we may call splendid in every respect. All are agreed that there are among us many very handsome faces, but hitherto there has been no means of committing them to canvas for transmission to posterity. This want has now been supplied: an artist has been found who unites in himself all desirable qualities. The beauty can now feel assured that she will be depicted with all the grace of her charms, airy, fascinating, butterfly-like, flitting among the flowers of spring. The stately father of a family can see himself surrounded by his family. Merchant, warrior, citizen, statesman⁠—hasten one and all, wherever you may be. The artist’s magnificent establishment (Nevsky Prospect, such and such a number) is hung with portraits from his brush, worthy of Van Dyck or Titian. We do not know which to admire most, their truth and likeness to the originals, or the wonderful brilliancy and freshness of the colouring. Hail to you, artist! you have drawn a lucky number in the lottery. Long live Andrei Petrovitch!” (The journalist evidently liked familiarity.) “Glorify yourself and us. We know how to prize you. Universal popularity, and with it wealth, will be your meed, though some of our brother journalists may rise against you.”

The artist read this article with secret satisfaction; his face beamed. He was mentioned in print; it was a novelty to him: he read the lines over several times. The comparison with Van Dyck and Titian flattered him extremely. The praise, “Long live Andrei Petrovitch,” also pleased him greatly: to be spoken of by his Christian name and patronymic in print was an honour hitherto totally unknown to him. He began to pace the chamber briskly, now he sat down in an armchair, now he sprang up, and seated himself on the sofa, planning each moment how he would receive visitors, male and female; he went to his canvas and made a rapid sweep of the brush, endeavouring to impart a graceful movement to his hand.

The next day, the bell at his door rang. He hastened to open it. A lady entered, accompanied by a girl of eighteen, her daughter, and followed by a lackey in a furred livery-coat.

“You are the painter Tchartkoff?”

The artist bowed.

“A great deal is written about you: your portraits, it is said, are the height of perfection.” So saying, the lady raised her glass to her eyes and glanced rapidly over the walls, upon which nothing was hanging. “But where are your portraits?”

“They have been taken away,” replied the artist, somewhat confusedly: “I have but just moved into these apartments; so they are still on the road, they have not arrived.”

“You have been in Italy?” asked the lady, levelling her glass at him, as she found nothing else to point it at.

“No, I have not been there; but I wish to go, and I have deferred it for a while. Here is an armchair, madame: you are fatigued?”

“Thank you: I have been sitting a long time in the carriage. Ah, at last I behold your work!” said the lady, running to the opposite wall, and bringing her glass to bear upon his studies, sketches, views and portraits which were standing there on the floor. “It is charming. Lise! Lise, come here. Rooms in the style of Teniers. Do you see? Disorder, disorder, a table with a bust upon it, a hand, a palette; dust, see how the dust is painted! It is charming. And here on this canvas is a woman washing her face. What a pretty face! Ah! a little muzhik! So you do not devote yourself exclusively to portraits?”

“Oh! that is mere rubbish. I was trying experiments, studies.”

“Tell me your opinion of the portrait painters of the present day. Is it not true that there are none now like Titian? There is not that strength of colour, that⁠—that⁠—What a pity that I cannot express myself in Russian.” The lady was fond of paintings, and had gone through all the galleries in Italy with her eyeglass. “But Monsieur Nohl⁠—ah, how well he paints! what remarkable work! I think his faces have been more expression than Titian’s. You do not know Monsieur Nohl?”

“Who is Nohl?” inquired the artist.

“Monsieur Nohl. Ah, what talent! He painted her portrait when she was only twelve years old. You must certainly come to see us. Lise, you shall show him your album. You know, we came expressly that you might begin her portrait immediately.”

“What? I am ready this very moment.” And in a trice he pulled forward an easel with a canvas already prepared, grasped his palette, and fixed his eyes on the daughter’s pretty little