Blackwood's Edinburgh Magazine - Volume 62, No. 384, October 1847

A few minutes later he stood motionless, almost paralysed, in his own magnificent studio. The bandage had fallen from his eyes. He saw how he had squandered the best years of his youth; how he had trampled and stifled the spark of that fire once burning within him, which might have been fanned till it blazed up into grandeur and glory, and extorted tears of gratitude and admiration from a wondering world. All this he had sacrificed and thrown away, heedlessly, madly, brutally. There suddenly revived in his soul those enthusiastic aspirations he once had known. He caught up a pencil and approached a canvass. The sweat of eagerness stood upon his brow; his soul was filled with one passionate desire—one solitary thought burned in his brain. The zeal for art, the thirst for fame he once so strongly felt, had suddenly returned, evoked from their lurking-place by the mute voice of another's genius. And why, Tchartkóff thought, should not he also excel? His hand trembled with feverish impatience till he could scarcely hold the pencil. He took for his subject a fallen angel. The idea was in accordance with his frame of mind. But, alas! how soon he was convinced of the vanity of his efforts! His hand and imagination had been too long confined to one line and limit, and his fierce but impotent endeavour to overleap the barrier, to break his self-imposed fetters, had no result. He had despised and neglected the fundamental condition of future greatness—the long and fatiguing ladder of study and reflection. Maddened by disappointment, furious at the conviction of impotency, he ignominiously dismissed from his studio all his later and most esteemed productions, to which places of honour had been accorded—all his lifeless, senseless, fashionable portraits of hussars, ladies of fashion, and privy councillors. He then shut himself up, denied himself to all visitors, and sat down to work, patient and eager as a young student. For a while he laboured day and night. But how unsatisfactory, how cruelly ungrateful was all that grew under his pencil! Each moment he found himself checked and repulsed in the new path he fain would have trodden by the wretched mechanical tricks to which he had so long habituated himself. They stood on his road, an impassable barrier. In spite of himself he recurred to the old commonplace forms; the arms would arrange themselves in one graceless position; the head assume the old hackneyed attitude; the folds of dress refused to drape themselves otherwise than they had so long been wont to do in his hands. All this the unhappy artist plainly felt and saw. His eyes were opened to his heinous faults, but he lacked the power to correct them.

"Surely I had ability!" said he to himself; "or was it mere delusion? Could I not, under any circumstances, have done better than I have? Did the whispers of youthful vanity mislead me?" And, to settle this doubt, he hunted out some of his early pictures, which lay neglected in a corner of his painting-room—pictures he had laboured at long ago, when his heart was pure from avarice, and he dwelt in his poor garret in the lonely Vasílievskü Ostrov, far from the world, from luxury and covetousness. He examined them attentively, and the conviction forced itself upon him with irresistible strength, that he had sacrificed genius at the altar of Mammon. "I had it in me!" was his agonised exclamation. "Every where, in all of these, I behold traces and proofs of the power I have recklessly frittered away."

Covering his face with his hands, Tchartkóff stood silent, full of bitter thoughts, rapidly but minutely reviewing the whole of his past life. When he removed his hands he started, and a thrill passed over him, for he suddenly encountered the gaze of two piercing eyes glittering with a sombre lustre, and seeming to watch and enjoy his despair. A second glance showed him they belonged to the strange portrait which he had bought, many years before, in the Stchúkin Dvor. It had remained forgotten and concealed amidst a mass of old pictures, and he had long since forgotten its existence. Now that the gaudy, fashionable pictures and portraits had been removed from the studio, there it was, peering grimly out from amongst his early productions. Tchartkóff remembered that, in a certain sense, this hideous portrait had been the origin of the useless life he had so long led and now so deeply deplored; that the hoard of gold discovered in its frame had developed and fostered in him those worldly passions, that sensuality and love of luxury, which had been the bane of his genius. Calling his servants, he ordered the hateful picture to be taken from the room, and bestowed where he should never again behold it. Its departure, however, was insufficient to calm his agitation and quell the storm that raged within him. He was a prey to that rare moral torture sometimes witnessed when a feeble talent wrestles unsuccessfully to attain a development above its capacity—a furious endeavour which often conducts young and vigorous minds to great achievements, but whose result to old and enervated ones is more frequently despair and insanity. Tchartkóff, when convinced of the futility of his efforts, became possessed by the demon of envy, who soon monopolised and made him all his own. His complexion assumed a bilious yellow tint; he could not bear to hear an artist praised, or look with patience at any work of art that bore the impress of genius. On beholding such he would grind his teeth with fury, and the expression of his face became that of a maniac.

At last he conceived one of the most execrable projects the human mind ever engendered; and with an eagerness approaching to frenzy, he hastened to put it into execution. He bought up all the best pictures he could find in St Petersburg, and whose owners could be induced to part with them. The prices he gave to tempt sellers were often most extravagant. As soon as he had purchased a picture, and got it safely home, he would set upon it with demoniac fury, tearing, scratching, even biting it; and, when it was utterly defaced and rent into the smallest possible fragments, he would dance and trample on it, laughing like a fiend. The enormous fortune he had accumulated during his long and successful career as a fashionable portrait-painter, enabled him largely to indulge this infernal monomania. To this abominable end he, Tchartkóff, but a short time before so avaricious, became reckless in his expenditure. For this he untied the strings of his bags of gold, and scattered his rubles with lavish hand. All were surprised at the change, and at the rapidity with which he squandered his fortune, in his zeal, as it was supposed, to form a gallery of the noblest works of art. In the auction room, none cared to oppose him, for all were certain to be outbid. He was held to be mad, and certainly his conduct and appearance justified the presumption. His countenance, of a jaundiced hue, grew haggard and wrinkled; misanthropy and hatred of the world were plainly legible upon it. He resembled that horrid demon whom Pushkin has so ably conceived and portrayed. Save all occasional sarcasm, venomous and bitter, no word ever passed his lips, and at last he became universally avoided. His acquaintances, and even his oldest friends, shunned his presence, and would go a mile round to escape meeting him in the street. The mere sight of him, they said, was enough to cloud their whole day.

Fortunately for society and for art, such an unnatural and agitated existence as this could not long endure. Tchartkóff's mental excitement was too violent for his physical strength. A burning fever and furious delirium ravaged his frame, and in a few days he was but the ghost of his former self. The delirium augmented, and became a permanent and incurable mania, in some of whose paroxysms it was necessary to bind him to his couch. He fancied he saw continually before him the singular old portrait from the Stchúkin Dvor! This was the more strange, because since the day he had turned it out of his studio, it had never once met his sight. But now he raved of its terrible living eyes, which haunted him unceasingly, and when this fancy came over him, his madness was something terrific. All the persons who approached his bed he imagined to be horrible portraits; copies, repeated again and again, of the old man with the fiendish eyes. The image multiplied itself perpetually; the ceiling, the walls, the floor, were all covered with portraits, staring sternly and fixedly at him with living eyes. The room extended and stretched out to a vast and interminable gallery, to afford room for millions of repetitions of the ghastly picture. In vain did numerous physicians seek to discover, with a view to the alleviation of the poor wretch's sufferings, some secret connexion between the incidents of his past life and the strange phantom that thus eternally haunted him. No explanation or clue could be obtained from the patient, who continued to apostrophise the portrait in disconnected phrase, and to utter howls of agony and lamentation. At last his existence terminated in one last horrible paroxysm. His corpse was frightful to behold; of his once comely form, a yellow shrivelled skeleton was all that remained. A few thousand rubles were the sole residue of his wealth; and his disappointed heirs, beholding numerous drawers and closets full of torn fragments that had once composed noble pictures, understood and cursed the odious use to which their relative had applied his princely fortune.

CHAPTER II

A number of carriages, caleches, and drójkis were drawn up in the vicinity of a handsome mansion in one of the best quarters of St Petersburg. It had been the residence of a rich virtuoso, lately deceased, and whose pictures, furniture, and curiosities, were now selling by auction. The large drawing-room was filled with the most distinguished amateurs of art in St Petersburg, mingled with brokers and dealers on the look-out for bargains, and with a large sprinkling of those idlers who, without intending to purchase, frequent auctions to kill a morning. The sale was in full activity, and there was eager competition for the lot then up. The biddings succeeded each other so rapidly, that the auctioneer was scarcely able to repeat them. The object so many were eager to possess, was a portrait, which could hardly fail to attract the attention even of persons who know nothing of pictures. This painting, which possessed a very considerable amount of artistical merit, and had apparently been more than once restored, repaired, and cleaned, represented the tawny features of an Oriental, attired in a loose costume. The expression of the face was singular, and by no means pleasant. Its most striking feature was the extraordinary and unaccountable look of the eyes, which, by some trick of the artist, seemed to follow the spectator wherever he went. Every one of the persons there assembled was ready to swear that the eyes looked straight at him; and, what was yet more unaccountable, the effect was the same whether the beholder stood on the right, or on the left, or in front of the picture. This peculiarity it was that had made so many anxious to possess a portrait whose subject and painter were alike unknown. Gradually, however, many of the amateurs ceased their biddings, for the price had become extravagant, and at last only two continued to compete—two rich noblemen, both enthusiastic lovers of the eccentric in art. These still continued the contest, grew heated with their rivalry, and were in a fair way to raise the price to something positively absurd, when a by-stander stepped forward and addressed them. "Before this contest goes farther," he said, "permit me to say a few words. Of all here present, it is I, I believe, who have the best right to the portrait in dispute."

All eyes were turned towards the speaker. He was a tall, handsome man, of about thirty-five, with a pleasant, cheerful countenance, a careless style of dress, and long black curls flowing down his neck. He was personally known to many present, and the name of B——, the artist, was circulated through the room.

"Extraordinary as my words may appear to you," he resumed, perceiving he had fixed the general attention, "I can explain them if you are disposed to give me five minutes' audience. I have every reason to believe that this portrait is one I have long sought in vain."

Curiosity was expressed on every countenance; the auctioneer stood open-mouthed and with uplifted hammer; all entreated B—— to tell his tale. The artist at once complied.

"You are all acquainted," he said, "with the quarter of St Petersburg known as the Kolómna, and aware that it is chiefly occupied by persons either in poverty, or whose resources are exceedingly limited, many of whom, compelled by unforeseen circumstances to outstrip their limited income, frequently find themselves in want of immediate and temporary assistance; compelled, in short, to apply to money-lenders. In consequence of this, there has settled amongst them a particular class of usurers, who supply petty sums on satisfactory pledges, and at enormous interest. These pawnbrokers on a small scale are generally far more pitiless than the aristocratic usurer, whose customers drive to his door in their carriages. Compunction, humanity, a feeling of pity for the unfortunates upon whose need they fatten, never by any chance enter their breast. Amongst these callous extortioners there was one who, at a certain period of the last century, under the reign of the Empress Catherine II., had been settled for some years in the Kolómna. He was an extraordinary and enigmatical personage, of whom none knew any thing; he wore a flowing Asiatic dress, his complexion was swarthy as an Arab; but to what nation he really belonged, whether Hindoo, or Greek, or Persian, none could decide. His tall stature, his tawny, withered, wiry face, with its tint of greenish bronze, his large eyes full of sullen fire, shadowed by thick and overhanging brows; every point in his appearance, in short, made a strong and marked distinction between him and the other inhabitants of the quarter. His very dwelling was quite unlike the little wooden houses which surrounded it. It was a large brick building, in the style of those often constructed by the Genoese merchants, with windows of different sizes disposed at irregular distances, with iron shutters and hasps. This usurer was distinguished from all others by the circumstance that he could always supply any sum of money required, and would accommodate alike the needy groom and the extravagant noble. At his door were often to be seen brilliant equipages, through whose windows might sometimes be discerned the head of a luxurious and fashionable lady. Rumour said that his iron chests teemed with countless heaps of money, plate, diamonds, and all kinds of valuable pledges, but nevertheless he was reported less greedy than the other money-lenders. He made no difficulty, people said, to lend, and was apparently far from oppressive in fixing the terms of payment. But on the day of reckoning, it was observed, that by some extraordinary arithmetical calculation, he made the interest mount up to an enormous sum: such, at least, was the popular report. The strangest thing about him, however, and which struck every body, was the fatality that seemed to attach to his loans; all who borrowed of him finished their lives in an unhappy manner. Whether this was a mere popular notion, a stupid superstitious gossip, or a rumour intentionally disseminated, has ever remained a mystery. But it is a fact that many things occurred to give it validity, and that within a comparatively short period of time. Amongst the aristocracy of the day, there was one young man who particularly attracted the attention of society. He was of ancient descent and noble blood; had very early distinguished himself in the service of the empire, as a warm protector of every thing honourable and elevated, and as a passionate lover of art and genius. He was soon distinguished by the personal notice of the Empress, who confided to him the duties of an office peculiarly adapted to his tastes and talents—an office which gave him power to be of the greatest service not only to science, but to humanity itself. The young noble surrounded himself with artists, poets, scholars, and men of learning. To all of them he promised employment, patronage, protection. He undertook, at his own expense, a number of important publications, gave a multitude of orders to artists, founded prizes for excellence, spent enormous sums in this unselfish manner, and at length got into difficulties. Full, however, of generous enthusiasm, and unwilling to leave his work half finished, he borrowed money in all directions, and at length found his way to the famous usurer in the Kolómna. Having obtained from this man a very extensive loan, the young noble all at once underwent a complete transformation. He became, as by enchantment, the enemy of rising intellect and talent, the persecutor of all he had previously protected. It was just then that the French Revolution broke out. This event gave him a handle for suspicion. In every thing he detected some revolutionary tendency; in every word, in every expressed opinion, he saw a dangerous hint or perfidious insinuation. The disease gained on him till he almost began to suspect himself. He laid false informations, fabricated the foulest charges, and caused the ruin of numbers of innocent people. At first, his guilty manœuvres were undetected, and, when found out, they were thought to proceed from insanity. Report was made to the Empress, who deprived him of his office. But his severest sentence was the contempt he read in the faces of his countrymen. I need not describe the sufferings of this vain and insolent spirit, the tortures he endured from crushed pride, defeated ambition, ruined expectations. At last his monomania—for such it must surely have been—aggravated by regret and chagrin, became insanity, and in a frightful paroxysm the unhappy maniac committed suicide.

"Not less remarkable than the fate of this wretched young man was that of a lady who passed at that time for the most beautiful woman in St Petersburg. My father has often assured me, that he never beheld any thing to be compared to her. Possessing, besides her beauty, the not less fascinating charms of wit, intellect, wealth, and high rank, she was of course surrounded by a swarm of admirers. The most remarkable of these was Prince R., the flower of all the young nobles of that day, and to whom the palm was universally conceded, not only for beauty of person, but for high qualities and chivalry of character. He was well qualified for a hero of romance, or a woman's beau-ideal. Deeply and passionately enamoured of the young countess, his affection met with as pure and ardent a return. But her relations disapproved the match. The prince's paternal estates had passed out of his hands,—his family was in disgrace at court, and the derangement of his finances was no secret to any body. Suddenly he left the capital, apparently for the purpose of putting his affairs in order; and, after a brief absence, reappeared and commenced a life of splendid extravagance. His balls and entertainments were so magnificent as to attract the notice of the court, and, it was rumoured, to mollify imperial displeasure. The countess's father became suddenly gracious, and soon nothing was talked of in St Petersburg but the marriage of the two lovers. Of the origin of the enormous fortune of the bridegroom, to which this change in the sentiments of his future father-in-law was unquestionably to be attributed, nobody could give a distinct account, though it was pretty generally whispered that he had entered into a compact with the mysterious money-lender of the Kolómna, and from him obtained a large loan. Be this as it may, the wedding formed the whole talk of the town. Bride and bridegroom were the object of universal envy. Every body had heard of their beauty and virtues, of their ardent and constant love; and all rejoiced that the obstacles to their union were removed. Numerous were the prophetic pictures drawn of the blissful existence the young couple were certain to enjoy. The event proved very different. In one twelvemonth a total and terrible change took place in the character of the prince. Hitherto noble, generous, and confiding, he became, on a sudden, jealous, suspicious, impatient, and capricious. He was the tyrant and tormentor of his wife; and, to the unbounded astonishment of every body who had known him before his marriage, treated her with inhuman brutality, and was even known to strike her! In one year the beautiful and dazzling girl, who was followed by a crowd of obedient adorers, could not be recognised in the careworn and unhappy wife. At length, unable longer to support the cruel yoke of such a marriage, she sought a separation. At the first notification of this step, the prince gave way to the most uncontrolled fury,—burst into her chamber, and would infallibly have stabbed her, had he not been seized and removed by force. Mad with rage, he turned his weapon upon himself, and lay a corpse at the feet of his horror-stricken friends. Besides these two incidents, which attracted great notice in the higher circles, a number of other instances were cited as having occurred amongst the lower classes, where the loans of the mysterious usurer had brought misfortune in their train. One man, previously a sober and honest artisan, had become a confirmed drunkard, and died in the hospital; a shopman had robbed his master; an izvóztchik, for years noted for his honesty, had cut the throat of a customer in order to rob him of an insignificant sum. All these persons, and many others, who sank into misery and crime, or perished by violent deaths, had been customers of the mysterious Asiatic, of whom these stories, related, as they often were, with additions and exaggerations, inspired the quiet and peaceable inhabitants of the Kolómna with an involuntary horror. Nobody doubted the real presence of the evil spirit in this man. They said that he exacted conditions which made one's very hair stand on end, and which none of his unhappy clients dared disclose; that his money had a mysterious property of attraction; that the coins were marked with strange characters, and grew red-hot of their own accord. In short, there were a thousand extravagant reports. But what is most remarkable is, that this population of Kolómna, made up of pensioners, half-pay officers, petty functionaries, obscure artists, and others equally necessitous, preferred bearing the utmost distress to having recourse to the dreaded money-lender. They all declared they would rather mortify their bodies than destroy their souls. Those who met him in the street hurried by with an uneasy sensation, making way for him with anxious submissiveness, and looking long over their shoulders at the tall lean figure as it lost itself in the distance. His singular frame might well have been the receptacle of a supernatural and unholy spirit. The wild and deeply-cut features had something different from humanity; the extraordinary thickness of the shaggy eyebrows; the bronzed glow of the countenance; the frightful eyes, with their steady unsupportable glare; even the broad folds of the Oriental dress were, each in turn, the subject of uneasy and suspicious comment. My father told me, that when he met him he could not avoid stopping to gaze at him; and it invariably occurred to him that he had never seen, either in painting or life, a face that so completely came up to his notion of a demon. But I must make you, as briefly as possible, acquainted with my father, who is the real hero of my tale. He was a remarkable man, a self-taught painter, seeking principles in his own mind, and elaborating, without master or school, rules and laws of art, led onward by the mere thirst for excellence, and advancing, under the influence of causes which he himself, perhaps, could not have defined, along a path marked out for him only in his own mind. He was one of those children of genius whom contemporaries so often stigmatise as ignorant, because they have struck out a track for themselves, and whose ardour is to be chilled neither by censure nor failures; whence, on the contrary, they derive fresh vigour and courage. Aided only by his own lofty instincts, he attained to the true understanding of what historical painting should be. Scriptural subjects, the last and loftiest step of high art, chiefly occupied his pencil. Free from the feverish irritable vanity and paltry envy so common amongst artists, he was a firm, upright, honourable man, a little rough and unpolished in externals—the husk rather rugged—and with a share of honest pride and independent feeling which sometimes imparted to his manner an air of mingled bluntness and condescension. 'I care nothing for your fine folks,' he would say. 'I don't work for them. I don't paint drawing-room pictures. Those who understand my work best reward me for it. I do not blame fashionable people for not understanding art: how should they? They understand their cards; they are judges of wine and horses. 'Tis enough. When they do pick up a crude notion or two on the subject of painting, they become intolerable by their assumption. I prefer, a thousand times, the man who honestly confesses he knows nothing about art, to your ignoramus who comes in with a solemn affectation of connoisseurship, claiming to be a judge, talking about things he does not understand, and consequently talking nonsense.' By no means a covetous man, my father painted for very modest remuneration, contented to earn sufficient for the support of his family, and for providing the means of exercising his art. Generous in the extreme, his hand was ever open to less successful artists. Imbued with a fervent and profound sense of religion, it was that, perhaps, which enabled him to communicate to the faces he painted an elevation of religious sentiment that the most brilliant pencils often fall to give. In course of time, and aided by obstinate industry and unflinching perseverance, his talent attracted the attention and commanded the respect even of those who had at first sneered at him as a home-made artist. He received numerous orders for altar-pieces and other church pictures, and laboured incessantly. One picture, in particular, engaged his closest attention. The subject I forget, but I know that the great enemy of mankind was to be introduced. Long did my father meditate on this figure; he desired to embody in the countenance the expression of every evil passion that afflicts fallen humanity. Whilst reflecting on the subject, and conjuring up horrible countenances in his imagination, the strange features of the mysterious money-lender frequently recurred to him; and, as often as they did so, he said to himself, 'The usurer would be a fine model for my Devil.' One day, whilst he was busy planning his great work, and making sketches, with which he had difficulty in pleasing himself, there was a knock at his studio door, and the next instant, to his infinite astonishment, the usurer entered the room. My father has since told me that on beholding him he felt an inexplicable chill and shudder come over his whole frame.