Thereupon he somewhat relaxed in his devotion to the art of painting. Indeed, from that time forth, he would spend the best part of the day in the front balcony, like the attentive angler poring on his float; and the better to support the tedium, he would frequently console himself with his clay pipe. On several occasions, passers-by appeared to be arrested by the ticket, and on several others ladies and gentlemen drove to the very doorstep by the carriageful; but it appeared there was something repulsive in the appearance of the house; for with one accord, they would cast but one look upward, and hastily resume their onward progress or direct the driver to proceed. Somerset had thus the mortification of actually meeting the eye of a large number of lodging-seekers; and though he hastened to withdraw his pipe, and to compose his features to an air of invitation, he was never rewarded by so much as an inquiry. ‘Can there,’ he thought, ‘be anything repellent in myself?’ But a candid examination in one of the pier-glasses of the drawing-room led him to dismiss the fear.
Something, however, was amiss. His vast and accurate calculations on the fly-leaves of books, or on the backs of playbills, appeared to have been an idle sacrifice of time. By these, he had variously computed the weekly takings of the house, from sums as modest as five-and-twenty shillings, up to the more majestic figure of a hundred pounds; and yet, in despite of the very elements of arithmetic, here he was making literally nothing.
This incongruity impressed him deeply and occupied his thoughtful leisure on the balcony; and at last it seemed to him that he had detected the error of his method. ‘This,’ he reflected, ‘is an age of generous display: the age of the sandwich-man, of Griffiths, of Pears’ legendary soap, and of Eno’s fruit salt, which, by sheer brass and notoriety, and the most disgusting pictures I ever remember to have seen, has overlaid that comforter of my childhood, Lamplough’s pyretic saline. Lamplough was genteel, Eno was omnipresent; Lamplough was trite, Eno original and abominably vulgar; and here have I, a man of some pretensions to knowledge of the world, contented myself with half a sheet of note-paper, a few cold words which do not directly address the imagination, and the adornment (if adornment it may be called) of four red wafers! Am I, then, to sink with Lamplough, or to soar with Eno? Am I to adopt that modesty which is doubtless becoming in a duke? or to take hold of the red facts of life with the emphasis of the tradesman and the poet?’
