Chapter 3. The Artists' Colony

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_ CHAPTER III. THE ARTISTS' COLONY

It was between eight and nine o'clock on the same beautiful May morning. Arvid Falk, after the scene with his brother, was strolling through the streets, dissatisfied with himself, his brother, and the whole world. He would have preferred to see the sky overcast, to be in bad company. He did not believe that he was a blackguard, but he was disappointed with the part he had played; he was accustomed to be severe on himself, and it had always been drummed into him that his brother was a kind of stepfather to whom he owed great respect, not to say reverence. But he was worried and depressed by other thoughts as well. He had neither money nor prospect of work. The last contingency was, perhaps, the worse of the two, for to him, with his exuberant imagination, idleness was a dangerous enemy.

Brooding over these disagreeable facts, he had reached Little Garden Street; he sauntered along, on the left pavement, passed the Dramatic Theatre, and soon reached High Street North. He walked on aimlessly; the pavement became uneven; wooden cottages took the place of the stone houses; badly dressed men and women were throwing suspicious glances at the well-dressed stranger who was visiting their quarter at such an early hour; famished dogs growled threateningly at him. He hastened past groups of gunners, labourers, brewers' men, laundresses, and apprentices, and finally came to Great Hop-Garden Street. He entered the Hop-Garden. The cows belonging to the Inspector-General of Ordnance were grazing in the fields; the old, bare apple trees were making the first efforts to put forth buds; but the lime trees were already in leaf and squirrels were playing up and down the branches. He passed the merry-go-round and came to the avenue leading to the theatre; here he met some truant schoolboys engaged in a game of buttons; a little further a painter's apprentice was lying in the grass on his back staring at the clouds through the dome of foliage; he was whistling carelessly, indifferent to the fact that master and men were waiting for him, while flies and other insects drowned themselves in his paint-pots.

Falk had walked to the top of the hill and had come to the duck-pond; he stood still for a while, studying the metamorphoses of the frogs; watching the leeches; catching a water-spider. Then he began to throw stones. The exercise brought his blood into circulation; he felt rejuvenated, a schoolboy playing truant, free, defiantly free! It was freedom bought by great self-sacrifice. The thought of being able to commune with nature freely and at will, made him glad; he understood nature better than men who had only ill-treated and slandered him; his unrest disappeared; he rose and continued his way further into the country.

Walking through the Cross, he came into Hop-Garden Street North. Some of the boards were missing in the fence facing him, and there was a very plainly marked footpath on the other side. He crept through the hole, disturbing an old woman who was gathering nettles, crossed the large tobacco field where a colony of villas has now sprung up, and found himself at the gate of "Lill-Jans."

There was no doubt of its being spring in the little settlement, consisting of three cottages snugly nestling among elders and apple trees, and sheltered from the north wind by the pine-wood on the other side of the High Road. The visitor was regaled with a perfect little idyll. A cock, perched on the shafts of a watercart, was basking in the sun and catching flies, the bees hung in a cloud round the bee-hives, the gardener was kneeling by the hot-beds, sorting radishes; the warblers and brand-tails were singing in the gooseberry bushes, while lightly clad children chased the fowls bent on examining the germinative capacity of various newly sown seeds. A brilliant blue sky spanned the scene and the dark forest framed the background.

Two men were sitting close to the hot-beds, in the shelter of the fence. One of them, wearing a tall, black hat and a threadbare, black suit, had a long, narrow, pale face, and looked like a clergyman. With his stout but deformed body, drooping eyelids, and Mongolian moustache, the other one belonged to the type of civilized peasant. He was very badly dressed and might have been many things: a vagabond, an artisan, or an artist; he looked seedy, but seedy in an original way.

The lean man, who obviously felt chilly, although he sat right in the sun, was reading to his friend from a book; the latter looked as though he had tried all the climates of the earth and was able to stand them all equally well.

As Falk entered the garden gate from the high road, he could distinctly hear the reader's words through the fence, and he thought it no breach of confidence to stand still for a while and listen.

The lean man was reading in a dry, monotonous voice, a voice without resonance, and his stout friend every now and then acknowledged his appreciation by a snort which changed occasionally into a grunt and became a splutter whenever the words of wisdom to which he was listening surpassed ordinary human understanding.

"'The highest principles are, as already stated, three; one, absolutely unconditioned, and two, relatively unconditioned ones. Pro primo: the absolutely first, purely unconditioned principle, would express the action underlying all consciousness and without which consciousness cannot exist. This principle is the identity A--A. It endures and cannot be disposed of by thought when all empirical definitions of consciousness are prescinded. It is the original fact of consciousness and must therefore, of necessity, be acknowledged. Moreover, it is not conditioned like every other empirical fact, but as consequence and substance of a voluntary act entirely unconditioned.'"

"Do you follow, Olle?" asked the reader, interrupting himself.

"It's amazing! It is not conditioned like every other empirical fact. Oh! What a man! Go on! Go on!"

"'If it is maintained,'" continued the reader, "'that this proposition without any further proof be true....'"

"Oh! I say! What a rascal! without any further proof be true," repeated the grateful listener, bent on dissipating all suspicion that he had not grasped what had been read, "without any further reason, how subtle, how subtle of him to say that instead of simply saying 'without any reason.'"

"Am I to continue? Or do you intend to go on interrupting me?" asked the offended reader.

"I won't interrupt again. Go on! Go on!"

"Well, now he draws the conclusion (really excellent): 'If one ascribes to oneself the ability to state a proposition----'"

Olle snorted.

"'One does not propose thereby A (capital A), but merely that A--A, if and in so far as A exists at all. It is not a question of the essence of an assertion but only of its form. The proposition A--A is therefore conditioned (hypothetically) as far as its essence is concerned, and unconditioned only as far as its form goes.'

"Have you noticed the capital A?"

Falk had heard enough; this was the terribly profound philosophy of Upsala, which had strayed to Stockholm to conquer and subdue the coarse instincts of the capital. He looked at the fowls to see whether they had not tumbled off their roosts; at the parsley whether it had not stopped growing while made to listen to the profoundest wisdom ever proclaimed by human voice at Lill-Jans; he was surprised to find that the sky had not fallen after witnessing such a feat of mental strength. At the same time his base human nature clamoured for attention: his throat was parched, and he decided to ask for a glass of water at one of the cottages.

Turning back he strolled towards the hut on the right-hand side of the road, coming from town. The door leading into a large room--once a bakery--from an entrance-hall the size of a travelling trunk, stood open. The room contained a bed-sofa, a broken chair, an easel, and two men. One of them, wearing only a shirt and a pair of trousers kept up by a leather belt, was standing before the easel. He looked like a journeyman, but he was an artist making a sketch for an altar-piece. The other man was a youth with clear-cut features and, considering his environment, well-made clothes. He had taken off his coat, turned back his shirt and was serving as the artist's model. His handsome, noble face showed traces of a night of dissipation, and every now and then he dozed, each time reprimanded by the master who seemed to have taken him under his protection. As Falk was entering the room he heard the burden of one of these reprimands:

"That you should make such a hog of yourself and spend the night drinking with that loafer Sellén, and now be standing here wasting your time instead of being at the Commercial School! The right shoulder a little higher, please; that's better! Is it true that you've spent all the money for your rent and daren't go home? Have you nothing left? Not one farthing?"

"I still have some, but it won't go far." The young man pulled a scrap of paper out of his trousers pocket, and straightening it out, produced two notes for a crown each.

"Give them to me, I'll take care of them for you," exclaimed the master, seizing them with fatherly solicitude.

Falk, who had vainly tried to attract their attention, thought it best to depart as quietly as he had come. Once more passing the manure heap and the two philosophers, he turned to the left. He had not gone far when he caught sight of a young man who had put up his easel at the edge of a little bog planted with alder trees, close to the wood. He had a graceful, slight, almost elegant figure, and a thin, dark face. He seemed to scintillate life as he stood before his easel, working at a fine picture. He had taken off his coat and hat and appeared to be in excellent health and spirits; alternately talking to himself and whistling or humming snatches of song.

When Falk was near enough to have him in profile he turned round.

"Sellén! Good morning, old chap!"

"Falk! Fancy meeting you out here in the wood! What the deuce does it, mean? Oughtn't you to be at your office at this time of day?"

"No! But are you living out here?"

"Yes; I came here on the first of April with some pals. Found life in town too expensive--and, moreover, landlords are so particular."

A sly smile played about one of the corners of his mouth and his brown eyes flashed.

"I see," Falk began again; "then perhaps you know the two individuals who were sitting by the hot-beds just now, reading?"

"The philosophers? Of course, I do! The tall one is an assistant at the Public Sales Office at a salary of eighty crowns per annum, and the short one, Olle Montanus, ought to be at home at his sculpture--but since he and Ygberg have taken up philosophy, he has left off working and is fast going down hill. He has discovered that there is something sensual in art."

"What's he living on?"

"On nothing at all! Occasionally he sits to the practical Lundell and then he gets a piece of black pudding. This lasts him for about a day. In the winter Lundell lets him lie on his floor; 'he helps to warm the room,' he says, and wood is very dear; it was very cold here in April."

"How can he be a model? He looks such a God-help-me sort of chap."

"He poses for one of the thieves in Lundell's "Descent from the Cross," the one whose bones are already broken; the poor devil's suffering from hip disease; he does splendidly when he leans across the back of a chair; sometimes the artist makes him turn his back to him; then he represents the other thief."

"But why doesn't he work himself? Has he no talent?"

"Olle Montanus, my dear fellow, is a genius, but he won't work. He's a philosopher and would have become a great man if he could have gone to college. It's really extraordinary to listen to him and Ygberg talking philosophy; it's true, Ygberg has read more, but in spite of that Montanus, with his subtle brain, succeeds in cornering him every now and again; then Ygberg goes away and reads some more, but he never lends the book to Montanus."

"I see! And you like Ygberg's philosophy?" asked Falk.

"Oh! It's subtle, wonderfully subtle! You like Fichte, don't you? I say! What a man!"

"Who were the two individuals in the cottage?" asked Falk, who did not like Fichte.

"Oh. You saw them too? One of them was the practical Lundell, a painter of figures, or rather, sacred subjects; the other one was my friend Rehnhjelm."

He pronounced the last few words with the utmost indifference, so as to heighten their effect as much as possible.

"Rehnhjelm?"

"Yes; a very nice fellow."

"He was acting as Lundell's model."

"Was he? That's like Lundell! He knows how to make use of people; he is extraordinarily practical. But come along, let's worry him; it's the only fun I have out here. Then, perhaps, you'll hear Montanus speaking, and that's really worth while."

Less for the sake of hearing Montanus speaking than for the sake of obtaining a glass of water, Falk followed Sellén, helping him to carry easel and paintbox.

The scene in the cottage was slightly changed; the model was now sitting on the broken chair, and Montanus and Ygberg on the bed-sofa. Lundell was standing at his easel, smoking; his seedy friends watched him and his old, snoring cherry-wood pipe; the very presence of a pipe and tobacco raised their spirits.

Falk was introduced and immediately Lundell monopolized him, asking him for his opinion of the picture he was painting. It was a Rubens, at least as far as the subject went, though anything but a Rubens in colour and drawing. Thereupon Lundell dilated on the hard times and difficulties of an artist, severely criticized the Academy, and censured the Government for neglecting native art. He was engaged in sketching an altar-piece, although he was convinced that it would be refused, for nobody could succeed without intrigues and connexions. And he scrutinized Falk's clothes, wondering whether he might be a useful connexion.

Falk's appearance had produced a different effect on the two philosophers. They scented a man of letters in him, and hated him because he might rob them of the reputation they enjoyed in the small circle. They exchanged significant glances, immediately understood by Sellén, who found it impossible to resist the temptation of showing off his friends in their glory, and, if possible, bring about an encounter. He soon found an apple of discord, aimed, threw, and hit.

"What do you say to Lundell's picture, Ygberg?"

Ygberg, not expecting to be called upon to speak so soon, had to consider his answer for a few seconds. Then he made his reply, raising his voice, while Olle rubbed his back to make him hold himself straight.

"A work of art may, in my opinion, be divided into two categories: subject and form. With regard to the subject in this work of art there is no denying that it is profound and universally human; the motive, properly speaking, is in itself fertile, and contains all the potentialities of artistic work. With regard to the form which of itself shall de facto manifest the idea, that is to say the absolute identity, the being, the ego--I cannot help saying that I find it less adequate."

Lundell was obviously flattered. Olle smiled his sunniest smile as if he were contemplating the heavenly hosts; the model was asleep and Sellén found that Ygberg had scored a complete success. All eyes were turned on Falk who was compelled to take up the gauntlet, for no one doubted that Ygberg's criticism was a challenge.

Falk was both amused and annoyed. He was searching the limbo of memory for philosophical air-guns, when he caught sight of Olle Montanus, whose convulsed face betrayed his desire to speak. Falk loaded his gun at random with Aristotle and fired.

"What do you mean by adequate? I cannot recollect that Aristotle made use of that word in his Metaphysics."

Absolute silence fell on the room; everybody felt that a fight between the artist's colony and the University of Upsala was imminent. The interval was longer than was desirable, for Ygberg was unacquainted with Aristotle and would have died sooner than have admitted it. As he was not quick at repartee, he failed to discover the breach which Falk had left open; but Olle did, caught Aristotle with both hands and flung him back at his opponent.

"Although I'm not a learned man, I venture to question whether you, Mr. Falk, have upset your opponent's argument? In my opinion adequate may be used and accepted as a definition in a logical conclusion, in spite of Aristotle not having mentioned the word in his Metaphysics. Am I right, gentlemen? I don't know, I'm not a learned man and Mr. Falk has made a study of these things."

He had spoken with half-closed eyelids; now he closed them entirely and looked impudently shy.

There was a general murmur of "Olle is right."

Falk realized that this was a matter to be handled without mittens, if the honour of Upsala was to be safeguarded; he made a pass with the philosophical pack of cards and threw up an ace.

"Mr. Montanus has denied the antecedent or said simply: nego majorem! Very well! I, on my part, declare that he has been guilty of a posterius prius; when he found himself on the horns of a dilemma he went astray and made a syllogism after ferioque instead of barbara. He has forgotten the golden rule: Cæsare camestres festino baroco secundo; and therefore his conclusion became weakened. Am I right gentlemen?"

"Quite right, absolutely right," replied everybody, except the two philosophers who had never held a book of logic in their hands.

Ygberg looked as if he had bitten on a nail, and Olle grinned as if a handful of snuff had been thrown into his eyes; but his native shrewdness had discovered the tactical method of his opponent. He resolved not to stick to the point, but to talk of something else. He brought out everything he had learned and everything he had heard, beginning with the Criticism of Fichte's Philosophy to which Falk had been listening a little while ago from behind the fence. The discussion went on until the morning was nearly spent.

In the meantime Lundell went on painting, his foul pipe snoring loudly. The model had fallen asleep on the broken chair, his head sinking deeper and deeper until, about noon, it hung between his knees; a mathematician could have calculated the time when it would reach the centre of the earth.

Sellén was sitting at the open window enjoying himself; but poor Falk, who had been under the impression that this terrible philosophy was a thing of the past, was compelled to continue throwing fistfuls of philosophic snuff into the eyes of his antagonists. The torture would never have come to an end if the model's centre of gravity had not gradually shifted to one of the most delicate parts of the chair; it gave way and the Baron fell on the floor. Lundell seized the opportunity to inveigh against the vice of drunkenness and its miserable consequences for the victim as well as for others; by others he meant, of course, himself.

Falk, anxious to come to the assistance of the embarrassed youth, eagerly asked a question bound to be of general interest.

"Where are the gentlemen going to dine?"

The room grew silent, so silent that the buzzing of the flies was plainly audible; Falk was quite unconscious of the fact that he had stepped on five corns at one and the same moment. It was Lundell who broke the silence. He and Rehnhjelm were going to dine at the "Sauce-Pan," their usual restaurant, for they had credit there; Sellén objected to the place because he did not like the cooking, and had not yet decided on another establishment; he looked at the model with an anxious, inquiring glance. Ygberg and Montanus were too "busy" and "not going to cut up their working-day" by "dressing and going up to town." They were going to get something out here, but they did not say what.

A general dressing began, principally consisting of a wash at the old garden-pump. Sellén, who was a dandy, had hidden a parcel wrapped in a newspaper underneath the bed-sofa, from which he produced collar, cuffs and shirt-front, made of paper. He knelt for a long time before the pump, gazing into the trough, while he put on a brownish-green tie, a present from a lady, and arranged his hair in a particular style.

When he had rubbed his shoes with a bur leaf, brushed his hat with his coat sleeve, put a grape-hyacinth in his buttonhole and seized his cinnamon cane, he was ready to go. To his question whether Rehnhjelm would be ready soon, Lundell replied that he would be hours yet, as he required his assistance in drawing; Lundell always devoted the time from twelve to two to drawing. Rehnhjelm submitted and obeyed, although he found it hard to part with Sellén, of whom he was fond, and stay with Lundell whom he disliked.

"We shall meet to-night at the Red Room," said Sellén, comforting him, and all agreed, even the philosophers and the moral Lundell.

On their way to town Sellén initiated his friend Falk into some of the secrets of the colonists. As for himself, he had broken with the Academy, because his views on art differed from theirs; he knew that he had talent and would eventually be successful, although success might be long in coming. It was, of course, frightfully difficult to make a name without the Royal Medal. There were also natural obstacles in his way. He was a native of the barren coast of Halland and loved grandeur and simplicity; but critics and public demanded detail and trifles; therefore his pictures did not sell; he could have painted what everybody else painted, but he scorned to do so.

Lundell, on the other hand, was a practical man--Sellén always pronounced the word practical with a certain contempt--he painted to please the public. He never suffered from indisposition; it was true he had left the Academy, but for secret, practical reasons; moreover, in spite of his assertion, he had not broken with it entirely. He made a good income out of his illustrations for magazines and, although he had little talent, he was bound to make his fortune some day, not only because of the number of his connexions, but also because of his intrigues. It was Montanus who had put him up to those; he was the originator of more than one plan which Lundell had successfully carried out. Montanus was a genius, although he was terribly unpractical.

Rehnhjelm was a native of Norrland. His father had been a wealthy man; he had owned a large estate which was now the property of his former inspector. The old aristocrat was comparatively poor; he hoped that his son would learn a lesson from the past, take an inspector's post and eventually restore the family to its former position by the acquisition of a new estate. Buoyed up with this hope, he had sent him to the Commercial School to study agricultural book-keeping, an accomplishment which the youth detested. He was a good fellow but a little weak, and allowing himself to be influenced by Lundell, who did not scorn to take the fee for his preaching and patronage in natura.

In the meantime Lundell and the Baron had started work; the Baron was drawing, while the master lay on the sofa, supervising the work, in other words, smoking.

"If you'll put your back into your work, you shall come to dinner with me at the 'Brass-Button,'" promised Lundell, feeling rich with the two crowns which he had saved from destruction.

Ygberg and Montanus had sauntered up the wooded eminence, intending to sleep away the dinner hour; Olle beamed after his victories, but Ygberg was depressed; his pupil had surpassed him. Moreover, his feet were cold and he was unusually hungry, for the eager discussion of dinner had awakened in him slumbering feelings successfully suppressed for the last twelve months. They threw themselves under a pine tree; Ygberg hid the precious, carefully wrapped up book, which he always refused to lend to Olle, under his head, and stretched himself full-length on the ground; he looked deadly pale, cold and calm like a corpse which has abandoned all hope of resurrection. He watched some little birds above his head picking at the pine seed and letting the husks fall down on him; he watched a cow, the picture of robust health, grazing among the alders; he saw the smoke rising from the gardener's kitchen chimney.

"Are you hungry, Olle?" he asked in a feeble voice.

"No!" replied Olle, casting covetous looks at the wonderful book.

"Oh! to be a cow!" sighed Ygberg, crossing his hands on his chest and giving himself up to all-merciful sleep.

When his low breathing had become regular, the waking friend gently pulled the book from its hiding-place, without disturbing the sleeper; then he turned over and lying on his stomach he began to devour the precious contents, forgetting all about the "Sauce-Pan" and the "Brass-Button." _

Read next: Chapter 4. Master And Dogs

Read previous: Chapter 2. Between Brothers

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