But the design was, to its author's astonishment, to be paid for separately. The mason, after hesitating a long time between two-pounds-ten and five pounds, was emboldened by a fellow-workman, who treated him to some hot whiskey and water, to name the larger sum. Trefusis paid the money at once, and then set himself to find out how much a similar design would have cost from the hands of an eminent Royal Academician. Happening to know a gentleman in this position, he consulted him, and was informed that the probable cost would be from five hundred to one thousand pounds. Trefusis expressed his opinion that the mason's charge was the more reasonable, somewhat to the indignation of his artist friend, who reminded him of the years which a Royal Academician has to spend in acquiring his skill. Trefusis mentioned that the apprenticeship of a mason was quite as long, twice as laborious, and not half so pleasant. The artist now began to find Trefusis's Socialistic views, with which he had previously fancied himself in sympathy, both odious and dangerous. He demanded whether nothing was to be allowed for genius. Trefusis warmly replied that genius cost its possessor nothing; that it was the inheritance of the whole race incidentally vested in a single individual, and that if that individual employed his monopoly of it to extort money from others, he deserved nothing better than hanging. The artist lost his temper, and suggested that if Trefusis could not feel that the prerogative of art was divine, perhaps he could understand that a painter was not such a fool as to design a tomb for five pounds when he might be painting a portrait for a thousand.
Trefusis retorted that the fact of a man paying a thousand pounds for a portrait proved that he had not earned the money, and was therefore either a thief or a beggar. The common workman who sacrificed sixpence from his week's wages for a cheap photograph to present to his sweet. heart, or a shilling for a pair of chromolithographic pictures or delft figures to place on his mantelboard, suffered greater privation for the sake of possessing a work of art than the great landlord or shareholder who paid a thousand pounds, which he was too rich to miss, for a portrait that, like Hogarth's Jack Sheppard, was only interesting to students of criminal physiognomy. A lively quarrel ensued, Trefusis denouncing the folly of artists in fancying themselves a priestly caste when they were obviously only the parasites and favored slaves of the moneyed classes, and his friend (temporarily his enemy) sneering bitterly at levellers who were for levelling down instead of levelling up. Finally, tired of disputing, and remorseful for their acrimony, they dined amicably together.
The monument was placed in Highgate Cemetery by a small band of workmen whom Trefusis found out of employment. It bore the following inscription:
THIS IS THE MONUMENT OF HENRIETTA JANSENIUS WHO WAS BORN ON THE26TH JULY, 1856, MARRIED TO SIDNEY TREFUSIS ON THE 23RD AUGUST, 1875, AND WHO DIED ON THE 21ST DECEMBER IN THE SAME YEAR.
Mr. Jansenius took this as an insult to his daughter's memory, and, as the tomb was much smaller than many which had been erected in the cemetery by families to whom the Janseniuses claimed superiority, cited it as an example of the widower's meanness. But by other persons it was so much admired that Trefusis hoped it would ensure the prosperity of its designer.
The contrary happened. When the mason attempted to return to his ordinary work he was informed that he had contravened trade usage, and that his former employers would have nothing more to say to him. On applying for advice and assistance to the trades-union of which he was a member he received the same reply, and was further reproached for treachery to his fellow-workmen.
He returned to Trefusis to say that the tombstone job had ruined him. Trefusis, enraged, wrote an argumentative letter to the "Times," which was not inserted, a sarcastic one to the trades-union, which did no good, and a fierce one to the employers, who threatened to take an action for libel. He had to content himself with setting the man to work again on mantelpieces and other decorative stone-work for use in house property on the Trefusis estate. In a year or two his liberal payments enabled the mason to save sufficient to start as an employer, in which capacity he soon began to grow rich, as he knew by experience exactly how much his workmen could be forced to do, and how little they could be forced to take. Shortly after this change in his circumstances he became an advocate of thrift, temperance, and steady industry, and quitted the International Association, of which he had been an enthusiastic supporter when dependent on his own skill and taste as a working mason.
During these occurrences Agatha's school-life ended. Her resolution to study hard during another term at the college had been formed, not for the sake of becoming learned, but that she might become more worthy of Smilash; and when she learned the truth about him from his own lips, the idea of returning to the scene of that humiliation became intolerable to her. She left under the impression that her heart was broken, for her smarting vanity, by the law of its own existence, would not perceive that it was the seat of the injury. So she bade Miss Wilson adieu; and the bee on the window pane was heard no more at Alton College.
