Page:A Legend of Camelot, Pictures and Poems, etc. George du Maurier, 1898.djvu/127



N a beautiful old suburb of London, undesecrated, as yet, by steam or telegraph-wires, and surrounded by low-lying flowery meads, through which the Thames would still meander occasionally, as it had been wont to do in days long gone by, dwelt Jack Spratt, a handsome, genial, and simple-minded young painter. He had a girl-wife of lofty stature, and truly transcending loveliness, a gift of which she seemed as yet unconscious.

They were unknown to fame, and not of exalted birth; but they had refined tastes, pretty manners, and affectionate dispositions, and were unto each other even as the apple of the eye. Their united ages amounted to thirty-nine brief summers. They had twins (a boy and a girl), as beautiful as the day, whom they loved with an exceeding love, and who loved them back again with all the singleness of their two little child hearts, that beat as one.

"Oh, really quite too fortunate!.. had they but known" (as Virgil would no doubt have exclaimed, had he but been an Englishman, and lived to make the acquaintance of Mr. and Mrs. J. Spratt)!

Their house was of red brick, smothered in ivy, and had been built about Queen Anne's time, or before, and never repaired since, nor meddled with in any way whatever. It stood by itself in a small old-fashioned garden, surrounded by once peach-laden walls that crumbled to the touch, and overrun with nettles, thistles, marigolds, sunflowers, and poppies; a trellised arbour of sweet pea half buried a sun-dial in its fragrant gloom; and there was a nice little green pond. Apple-trees and pear-trees, leafless and long past fruit bearing, but beautifully gnarled, grew rank as in an orchard, and on to a luxuriant lawn that had never known the scythe, opened the pretty studio, which was full of blue china, round mirrors, faded tapestry, carved oak-chests, high-backed chairs, brazen sconces, mediæval arms and armour, an organ with beautifully painted pipes but no bellows, and other musical instruments, such as sackbuts and psalteries, a harpsichord without any strings, and a dulcimer that had been turned into an eight-day clock, but could never be got to go. The dust lay thick on all these pretty things, and toned them into harmony. Studio, house, and garden were pervaded with a subtle fragrance, significant of old associations, which arose in the soft summer twilight from time-honoured, ruined, and all but forgotten drains.

Jack Spratt also gloried in the possession of two beautiful and costly lay figures, representing a mother and a child, the only modern objects in the house, whose open countenances and curiously-wrought limbs, duly draped, he would never tire of painting, while his lovely wife sat by, darning his socks, may be, or embroidering some quaint device, as she read to him aloud old tales of chivalry, to which he was extremely partial, while the twins frolicked at her pretty feet. This work done, after a frugal meal of bread and honey in the parlour, they would hie them to the flowery mead; and there, in the golden sunset, she would ply her spinning-wheel, and softly sing some ancient ballad in a foreign tongue, while the twins gambolled in lamb-like innocence around.

They made a pretty picture, these happy children and their beautiful young mother, and the trees, and the grass, and the winding river, bathed in the glories of eventide; and in the midst of it all, Jack Spratt would be inspired to close his eyes, and reverently, 57