The Rebel Angels

It is not that I wanted to know a great deal, in order to acquire what is now called expertise, and which enables one to become an expert-tease to people who don't know as much as you do about the tiny corner you have made your own. I hoped for a bigger fish; I wanted nothing less than Wisdom. In a modern university if you ask for knowledge they will provide it in almost any form – though if you ask for out-of-fashion things they may say, like the people in shops, "Sorry, there's no call for it." But if you ask for Wisdom – God save us all! What a show of modesty, what disclaimers from the men and women from whose eyes intelligence shines forth like a lighthouse. Intelligence, yes, but of Wisdom not so much as the gleam of a single candle.

That was what chained me to Hollier; I thought that in him I saw Wisdom. And as Paracelsus said – that Paracelsus with whom I had to be acquainted because he was part of my study of Rabelais: The striving for wisdom is the second paradise of the world.

With Hollier I truly thought that I would have the second paradise, and the first as well.

The New Aubrey II

1

Is it ever a kindness to appoint someone an executor? It is evidence of trust, certainly, but it may become a tedious servitude. Hollier and I were swept more and more into concern with Cornish's affairs, at cost of time and energy that we needed for our own work. There was a note in the will that when everything was dealt with each of the advisers or sub-executors might choose 'some object that especially pleases him, provided it has not been designated as a bequest or portion of a bequest elsewhere". But this made our work more vexatious, because we were continually coming upon things we would like to have and finding that they had been earmarked for somebody else. And young Cornish's lawyers told us that we might not choose or remove anything until all bequests had been dealt with. We were like poor relatives at the Christmas Tree of rich children.

Rich, and not as grateful as I thought they should be. The big recipients were glad enough to take what they liked, but made it clear that some things that were in their portion didn't especially please them and weren't welcome.

The National Gallery was one of these. Cornish had left them dozens of canvases, but he had stipulated that the Canadian pictures were to be kept together and placed on permanent exhibition, as the Cornish Bequest. The Gallery people said, reasonably enough, that they liked to show their pictures in a historical context, and Cornish's Krieghoffs and other early things ought to go with their exhibitions of Early Canadian Painting; they didn't want primitives spotted about all over their galleries. They said also that they didn't think some of the modern pictures first-rate, whatever Cornish may have thought, and simply couldn't say they would put them on permanent show. If there was to be a Cornish Bequest, Cornish might have discussed it with them beforehand; or might have thought of leaving money to build a special gallery for it; even if he had done so, they had no land on which to build such a gallery. The correspondence was courteous, but only just, and there were frequent hints that donors could be peremptory and inconsiderate, and that anybody without a degree in Fine Arts was rather an amateur.

Hollier didn't like that. He is a man of strong feelings and loyalties, and he thought Cornish's memory was being insulted. I, with my tedious capacity to see both sides of a question, wasn't so sure. McVarish made Hollier even angrier by being frivolous, as if the will and Cornish's wishes didn't matter very much.