The Rebel Angels

There were treasures, too, and nobody knew about them except myself, because I would not permit the librarians to snoop. There were letters from painters who had subsequently become celebrated, but who wrote to Cornish when they were young and poor, letters of friendship and often of touching need. They illustrated their letters with sketches and scribbles that were funny and delightful, and sometimes of beauty. When I explained all of this to Arthur Cornish, he said: "I leave it up to you; Uncle Frank trusted you and that's quite good enough for me." Which was complimentary but unhelpful, because the librarians were tough.

The National Library's case was that Cornish had been a Great Canadian (how he would have laughed, for he had as little vanity as any man I ever knew) and everything about him that could be preserved should be given the archival treatment, catalogued, cross-indexed, and preserved in acid-free containers so that it would never perish. But the University Library saw Cornish as a great benefactor of the University who had shown his esteem for its Library by leaving it a splendid collection of fine books and manuscripts; his memory should repose, so far as possible, in their hands.

Why? I asked. Were not the treasures themselves sufficient without all the rubbish, much of which seemed to me to be good for nothing but the incinerator? No, said the archivists, in controlled voices beneath which I could hear suppressed shrieks of rage and horror at my ignorance and obtuseness. Surely I was not forgetting Research, that giant scholarly industry? Students of art, students of history, students of God knows what else, would want to know everything about Cornish that could be recovered. How did I expect that the official biography of Cornish could be written if all his papers were not in responsible hands, forever?

I was not impressed. I have read two or three official lives of people I have known well, and they never seemed to be about the person I knew. They were, upon the whole, cautiously favourable to their subjects, though they did not neglect what the writers loved to call Flaws. It is part of the received doctrine of modern biography that all characters are Flawed, and as a Christian priest I am quite ready to agree, but the Flaws the biographers exhibited usually meant that the person under discussion had not seen eye to eye with the biographer on matters of politics, or social betterment, or something impersonal. What I thought of as human flaws – Pride, Wrath, Envy, Lust, Gluttony, Avarice, and Sloth, the Deadly Seven, of which Cornish had scored pretty high on the latter four – rarely received any intelligent discussion. As for the Virtues – Faith, Hope, Charity, Prudence, Justice, Fortitude, and Temperance, some of which Cornish had possessed in praiseworthy plenty – biographers never wanted to talk about them under their own names, or even under fashionable modern names. There had been no Love in the biographies of any people I had known personally, and perhaps it was impudent of me to wish that Cornish, if he were to be the subject of a Life, might have a proper measure of Love. Or Hate, or anything but the scholarly incomprehension of a professional biographer.

So I havered and temporized between the two claimants, and lost sleep, and sometimes wished I had the courage to do what I had a right to do, and put the whole mess in a fire. But those wonderful letters from the artists made me stay my hand.

What was all Cornish's hoard of objects worth? Arthur Cornish had the easy job of dealing with the money, which could be reckoned up in terms tax-collectors and probate courts understood. The objects of art were quite another thing; the tax people wanted a sum to put here and there on pieces of paper which were important to them, if to nobody else. We could not appeal to insurance records; Cornish never insured anything. Why insure what is irreplaceable? I persuaded Hollier and McVarish, without difficulty, to let me call in the Toronto branch of Sotheby's to make a valuation. But here again we ran into trouble. The valuers knew their stuff, and could tell us what the hoard might fetch, piece by piece, at auction if it were all catalogued and offered in the right markets. A probate value was something different, because Arthur Cornish was firm in his determination not to have estate duties reckoned on present inflated values for objects of art. The fact that so much of the stuff was left to the public, in one way or another, did not make as much difference as Arthur thought it should.

It was weary work, and kept me from what I was paid by the university to do.

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