If a man's personal appearance, when he is out of his dressing-room, and when he has passed forty, can be accepted as a safe guide to his time of life -- which is more than doubtful -- Mr Fairlie's age, when I saw him, might have been reasonably computed at over fifty and under sixty years. His beardless face was thin, worn, and transparently pale, but not wrinkled; his nose was high and hooked; his eyes were of a dim greyish blue, large, prominent, and rather red round the rims of the eyelids; his hair was scanty, soft to look at, and of that light sandy colour which is the last to disclose its own changes towards grey. He was dressed in a dark frock-coat, of some substance much thinner than cloth, and in waistcoat and trousers of spotless white. His feet were effeminately small, and were clad in buff-coloured silk stockings, and little womanish bronze-leather slippers. Two rings adorned his white delicate hands, the value of which even my inexperienced observation detected to be all but priceless. Upon the whole, he had a frail, languidly-fretful, over-refined look -- something singularly and unpleasantly delicate in its association with a man, and, at the same time, something which could by no possibility have looked natural and appropriate if it had been transferred to the personal appearance of a woman. My morning's experience of Miss Halcombe had predisposed me to be pleased with everybody in the house; but my sympathies shut themselves up resolutely at the first sight of Mr Fairlie.
On approaching nearer to him, I discovered that he was not so entirely without occupation as I had at first supposed. Placed amid the other rare and beautiful objects on a large round table near him, was a dwarf cabinet in ebony and silver, containing coins of all shapes and sizes, set out in little drawers lined with dark purple velvet. One of these drawers lay on the small table attached to his chair; and near it were some tiny jeweller's brushes, a wash-leather ‘stump,' and a little bottle of liquid, all waiting to be used in various ways for the removal of any accidental impurities which might be discovered on the coins. His frail white fingers were listlessly toying with something which looked, to my uninstructed eyes, like a dirty pewter medal with ragged edges, when I advanced within a respectful distance of his chair, and stopped to make my bow.
‘So glad to possess you at Limmeridge, Mr Hartright,' he said in a querulous, croaking voice, which combined, in anything but an agreeable manner, a discordantly high tone with a drowsily languid utterance. ‘Pray sit down.
And don't trouble yourself to move the chair, please. In the wretched state of my nerves, movement of any kind is exquisitely painful to me. Have you seen your studio? Will it do?'
‘I have just come from seeing the room, Mr Fairlie; and I assure you --'
He stopped me in the middle of the sentence, by closing his eyes, and holding up one of his white hands imploringly. I paused in astonishment; and the croaking voice honoured me with this explanation --
‘Pray excuse me. But could you contrive to speak in a lower key?
In the wretched state of my nerves, loud sound of any kind is indescribable torture to me. You will pardon an invalid? I only say to you what the lamentable state of my health obliges me to say to everybody. Yes. And you really like the room?'
‘I could wish for nothing prettier and nothing more comfortable,' I answered, dropping my voice, and beginning to discover already that Mr Fairlie's selfish affectation and Mr Fairlie's wretched nerves meant one and the same thing.
‘So glad. You will find your position here, Mr Hartright, properly recognised.
There is none of the horrid English barbarity of feeling about the social position of an artist in this house. So much of my early life has been passed abroad, that I have quite cast my insular skin in that respect.
I wish I could say the same of the gentry -- detestable word, but I suppose I must use it -- of the gentry in the neighbourhood. They are sad Goths in Art, Mr Hartright. People, I do assure you, who would have opened their eyes in astonishment, if they had seen Charles the fifth pick up Titian's brush for him. Do you mind putting this tray of coins back in the cabinet, and giving me the next one to it? In the wretched state of my nerves, exertion of any kind is unspeakably disagreeable to me. Yes. Thank you.'
As a practical commentary on the liberal social theory which he had just favoured me by illustrating, Mr Fairlie's cool request rather amused me. I put back one drawer and gave him the other, with all possible politeness.
He began trifling with the new set of coins and the little brushes immediately; languidly looking at them and admiring them all the time he was speaking to me.
‘A thousand thanks and a thousand excuses. Do you like coins? Yes. So glad we have another taste in common besides our taste for Art. Now, about the pecuniary arrangements between us -- do tell me -- are they satisfactory?'
‘Most satisfactory, Mr Fairlie.'
‘So glad. And -- what next? Ah! I remember. Yes. In reference to the consideration which you are good enough to accept for giving me the benefit of your accomplishments in art, my steward will wait on you at the end of the fist week, to ascertain your wishes. And -- what next? Curious, is it not? I had a great deal more to say: and I appear to have quite forgotten it. Do you mind touching the bell? In that corner. Yes. Thank you.'
I rang; and a new servant noiselessly made his appearance -- a foreigner, with a set smile and perfectly brushed hair -- a valet every inch of him.
‘Louis,' said Mr Fairlie, dreamily dusting the tips of his fingers with one of the tiny brushes for the coins, ‘I made some entries in my tablettes this morning. Find my tablettes. A thousand pardons, Mr Hartright, I'm afraid I bore you.'