| Author: | Charles Garvice | ISBN: | 6610000019571 |
| Publisher: | PublishDrive | Publication: | July 10, 2017 |
| Imprint: | Merkaba Press | Language: | English |
| Author: | Charles Garvice |
| ISBN: | 6610000019571 |
| Publisher: | PublishDrive |
| Publication: | July 10, 2017 |
| Imprint: | Merkaba Press |
| Language: | English |
It is a warm evening in early Summer; the sun is setting behind a long range of fir and yew-clad hills, at the feet of which twists in and out, as it follows their curves, a placid, peaceful river. Opposite these hills, and running beside the river, are long-stretching meadows, brilliantly green with fresh-springing grass, and gorgeously yellow with newly-opened buttercups. Above, the sunset sky gleams and glows with fiery red and rich deep chromes. And London is almost within sight.
It is a beautiful scene, such as one sees only in this England of ours—a scene that defies poet and painter. At this very moment it is defying one of the latter genus; for in a room of a low-browed, thatched-roofed cottage which stood on the margin of the meadow, James Etheridge sat beside his easel, his eyes fixed on the picture framed in the open window, his brush and mahl-stick drooping in his idle hand.
Unconsciously he, the painter, made a picture worthy of study. Tall, thin, delicately made, with pale face crowned and set in softly-flowing white hair, with gentle, dreamy eyes ever seeking the infinite and unknown, he looked like one of those figures which the old Florentine artists used to love to put upon their canvases, and which when one sees even now makes one strangely sad and thoughtful.
The room was a fitting frame for the human subject; it was a true painter's studio—untidy, disordered, and picturesque. Finished and unfinished pictures hung or leant against the walls, suits of armor, antique weapons, strange costumes littered the floor or hung limply over mediæval chairs; books, some in bindings which would have made the mouth of a connoisseur water, lay open upon the table or were piled in a distant corner. And over all silence—unbroken save by the sound of the water rushing over the weir, or the birds which flitted by the open window—reigned supreme.
The old man sat for some time listening to Nature's music, and lost in dreamy admiration of her loveliness, until the striking of the church clock floated from the village behind the house; then, with a start, he rose, took up his brushes, and turned again to the easel. An hour passed, and still he worked, the picture growing beneath the thin, skillful hand; the birds sank into silence, the red faded slowly from the sky, and night unfolded its dark mantle ready to let it fall upon the workaday world...
It is a warm evening in early Summer; the sun is setting behind a long range of fir and yew-clad hills, at the feet of which twists in and out, as it follows their curves, a placid, peaceful river. Opposite these hills, and running beside the river, are long-stretching meadows, brilliantly green with fresh-springing grass, and gorgeously yellow with newly-opened buttercups. Above, the sunset sky gleams and glows with fiery red and rich deep chromes. And London is almost within sight.
It is a beautiful scene, such as one sees only in this England of ours—a scene that defies poet and painter. At this very moment it is defying one of the latter genus; for in a room of a low-browed, thatched-roofed cottage which stood on the margin of the meadow, James Etheridge sat beside his easel, his eyes fixed on the picture framed in the open window, his brush and mahl-stick drooping in his idle hand.
Unconsciously he, the painter, made a picture worthy of study. Tall, thin, delicately made, with pale face crowned and set in softly-flowing white hair, with gentle, dreamy eyes ever seeking the infinite and unknown, he looked like one of those figures which the old Florentine artists used to love to put upon their canvases, and which when one sees even now makes one strangely sad and thoughtful.
The room was a fitting frame for the human subject; it was a true painter's studio—untidy, disordered, and picturesque. Finished and unfinished pictures hung or leant against the walls, suits of armor, antique weapons, strange costumes littered the floor or hung limply over mediæval chairs; books, some in bindings which would have made the mouth of a connoisseur water, lay open upon the table or were piled in a distant corner. And over all silence—unbroken save by the sound of the water rushing over the weir, or the birds which flitted by the open window—reigned supreme.
The old man sat for some time listening to Nature's music, and lost in dreamy admiration of her loveliness, until the striking of the church clock floated from the village behind the house; then, with a start, he rose, took up his brushes, and turned again to the easel. An hour passed, and still he worked, the picture growing beneath the thin, skillful hand; the birds sank into silence, the red faded slowly from the sky, and night unfolded its dark mantle ready to let it fall upon the workaday world...
