Some Short Stories Part 3

He had too much tact to try and make himself agreeable when he couldn't be useful; so when I was too absorbed in my work to talk he simply sat and waited. But I liked to hear him talk--it made my work, when not interrupting it, less mechanical, less special. To listen to him was to combine the excitement of going out with the economy of staying at home.

There was only one hindrance--that I seemed not to know any of the people this brilliant couple had known. I think he wondered extremely, during the term of our intercourse, whom the deuce I DID know. He hadn't a stray sixpence of an idea to fumble for, so we didn't spin it very fine; we confined ourselves to questions of leather and even of liquor-saddlers and breeches-makers and how to get excellent claret cheap--and matters like "good trains" and the habits of small game. His lore on these last subjects was astonis.h.i.+ng--he managed to interweave the station-master with the ornithologist. When he couldn't talk about greater things he could talk cheerfully about smaller, and since I couldn't accompany him into reminiscences of the fas.h.i.+onable world he could lower the conversation without a visible effort to my level.

So earnest a desire to please was touching in a man who could so easily have knocked one down. He looked after the fire and had an opinion on the draught of the stove without my asking him, and I could see that he thought many of my arrangements not half knowing. I remember telling him that if I were only rich I'd offer him a salary to come and teach me how to live. Sometimes he gave a random sigh of which the essence might have been: "Give me even such a bare old-barrack as this, and I'd do something with it!" When I wanted to use him he came alone; which was an ill.u.s.tration of the superior courage of women. His wife could bear her solitary second floor, and she was in general more discreet; showing by various small reserves that she was alive to the propriety of keeping our relations markedly professional--not letting them slide into sociability. She wished it to remain clear that she and the Major were employed, not cultivated, and if she approved of me as a superior, who could be kept in his place, she never thought me quite good enough for an equal.

She sat with great intensity, giving the whole of her mind to it, and was capable of remaining for an hour almost as motionless as before a photographer's lens. I could see she had been photographed often, but somehow the very habit that made her good for that purpose unfitted her for mine. At first I was extremely pleased with her ladylike air, and it was a satisfaction, on coming to follow her lines, to see how good they were and how far they could lead the pencil. But after a little skirmis.h.i.+ng I began to find her too insurmountably stiff; do what I would with it my drawing looked like a photograph or a copy of a photograph. Her figure had no variety of expression--she herself had no sense of variety. You may say that this was my business and was only a question of placing her. Yet I placed her in every conceivable position and she managed to obliterate their differences. She was always a lady certainly, and into the bargain was always the same lady. She was the real thing, but always the same thing. There were moments when I rather writhed under the serenity of her confidence that she WAS the real thing. All her dealings with me and all her husband's were an implication that this was lucky for ME. Meanwhile I found myself trying to invent types that approached her own, instead of making her own transform itself--in the clever way that was not impossible for instance to poor Miss Churm. Arrange as I would and take the precautions I would, she always came out, in my pictures, too tall--landing me in the dilemma of having represented a fascinating woman as seven feet high, which (out of respect perhaps to my own very much scantier inches) was far from my idea of such a personage.

The case was worse with the Major--nothing I could do would keep HIM down, so that he became useful only for the representation of brawny giants. I adored variety and range, I cherished human accidents, the ill.u.s.trative note; I wanted to characterise closely, and the thing in the world I most hated was the danger of being ridden by a type. I had quarrelled with some of my friends about it; I had parted company with them for maintaining that one HAD to be, and that if the type was beautiful--witness Raphael and Leonardo--the servitude was only a gain.

I was neither Leonardo nor Raphael--I might only be a presumptuous young modern searcher; but I held that everything was to be sacrificed sooner than character. When they claimed that the obsessional form could easily BE character I retorted, perhaps superficially, "Whose?" It couldn't be everybody's--it might end in being n.o.body's.

After I had drawn Mrs. Monarch a dozen times I felt surer even than before that the value of such a model as Miss Churm resided precisely in the fact that she had no positive stamp, combined of course with the other fact that what she did have was a curious and inexplicable talent for imitation. Her usual appearance was like a curtain which--she could draw up at request for a capital performance. This performance was simply suggestive; but it was a word to the wise--it was vivid and pretty. Sometimes even I thought it, though she was plain herself, too insipidly pretty; I made it a reproach to her that the figures drawn from her were monotonously (BeTEMENT, as we used to say) graceful.

Nothing made her more angry: it was so much her pride to feel she could sit for characters that had nothing in common with each other. She would accuse me at such moments of taking away her "reputytion."

It suffered a certain shrinkage, this queer quant.i.ty, from the repeated visits of my new friends. Miss Churm was greatly in demand, never in want of employment, so I had no scruple in putting her off occasionally, to try them more at my ease. It was certainly amusing at first to do the real thing--it was amusing to do Major Monarch's trousers. They WERE the real thing, even if he did come out colossal. It was amusing to do his wife's back hair--it was so mathematically neat--and the particular "smart" tension of her tight stays. She lent herself especially to positions in which the face was somewhat averted or blurred, she abounded in ladylike back views and PROFILS PERDUS. When she stood erect she took naturally one of the att.i.tudes in which court-painters represent queens and princesses; so that I found myself wondering whether, to draw out this accomplishment, I couldn't get the editor of the CHEAPSIDE to publish a really royal romance, "A Tale of Buckingham Palace." Sometimes however the real thing and the make-believe came into contact; by which I mean that Miss Churm, keeping an appointment or coming to make one on days when I had much work in hand, encountered her invidious rivals. The encounter was not on their part, for they noticed her no more than if she had been the housemaid; not from intentional loftiness, but simply because as yet, professionally, they didn't know how to fraternise, as I could imagine they would have liked--or at least that the Major would. They couldn't talk about the omnibus--they always walked; and they didn't know what else to try--she wasn't interested in good trains or cheap claret. Besides, they must have felt--in the air--that she was amused at them, secretly derisive of their ever knowing how. She wasn't a person to conceal the limits of her faith if she had had a chance to show them. On the other hand Mrs. Monarch didn't think her tidy; for why else did she take pains to say to me--it was going out of the way, for Mrs. Monarch--that she didn't like dirty women?

One day when my young lady happened to be present with my other sitters--she even dropped in, when it was convenient, for a chat--I asked her to be so good as to lend a hand in getting tea, a service with which she was familiar and which was one of a cla.s.s that, living as I did in a small way, with slender domestic resources, I often appealed to my models to render. They liked to lay hands on my property, to break the sitting, and sometimes the china--it made them feel Bohemian. The next time I saw Miss Churm after this incident she surprised me greatly by making a scene about it--she accused me of having wished to humiliate her. She hadn't resented the outrage at the time, but had seemed obliging and amused, enjoying the comedy of asking Mrs. Monarch, who sat vague and silent, whether she would have cream and sugar, and putting an exaggerated simper into the question. She had tried intonations--as if she too wished to pa.s.s for the real thing--till I was afraid my other visitors would take offence.

Oh they were determined not to do this, and their touching patience was the measure of their great need. They would sit by the hour, uncomplaining, till I was ready to use them; they would come back on the chance of being wanted and would walk away cheerfully if it failed. I used to go to the door with them to see in what magnificent order they retreated. I tried to find other employment for them--I introduced them to several artists. But they didn't "take," for reasons I could appreciate, and I became rather anxiously aware that after such disappointments they fell back upon me with a heavier weight. They did me the honour to think me most their form. They weren't romantic enough for the painters, and in those days there were few serious workers in black-and-white.

Besides, they had an eye to the great job I had mentioned to them--they had secretly set their hearts on supplying the right essence for my pictorial vindication of our fine novelist. They knew that for this undertaking I should want no costume--effects, none of the frippery of past ages--that it was a case in which everything would be contemporary and satirical and presumably genteel. If I could work them into it their future would be a.s.sured, for the labour would of course be long and the occupation steady.

One day Mrs. Monarch came without her husband--she explained his absence by his having had to go to the City. While she sat there in her usual relaxed majesty there came at the door a knock which I immediately recognised as the subdued appeal of a model out of work. It was followed by the entrance of a young man whom I at once saw to be a foreigner and who proved in fact an Italian acquainted with no English word but my name, which he uttered in a way that made it seem to include all others.

I hadn't then visited his country, nor was I proficient in his tongue; but as he was not so meanly const.i.tuted--what Italian is?--as to depend only on that member for expression he conveyed to me, in familiar but graceful mimicry, that he was in search of exactly the employment in which the lady before me was engaged. I was not struck with him at first, and while I continued to draw I dropped few signs of interest or encouragement. He stood his ground however--not importunately, but with a dumb dog-like fidelity in his eyes that amounted to innocent impudence, the manner of a devoted servant--he might have been in the house for years--unjustly suspected. Suddenly it struck me that this very att.i.tude and expression made a picture; whereupon I told him to sit down and wait till I should be free. There was another picture in the way he obeyed me, and I observed as I worked that there were others still in the way he looked wonderingly, with his head thrown back, about the high studio. He might have been crossing himself in Saint Peter's.

Before I finished I said to myself "The fellow's a bankrupt orange-monger, but a treasure."

When Mrs. Monarch withdrew he pa.s.sed across the room like a flash to open the door for her, standing there with the rapt pure gaze of the young Dante spellbound by the young Beatrice. As I never insisted, in such situations, on the blankness of the British domestic, I reflected that he had the making of a servant--and I needed one, but couldn't pay him to be only that--as well as of a model; in short I resolved to adopt my bright adventurer if he would agree to officiate in the double capacity. He jumped at my offer, and in the event my rashness--for I had really known nothing about him--wasn't brought home to me. He proved a sympathetic though a desultory ministrant, and had in a wonderful degree the SENTIMENT DE LA POSE. It was uncultivated, instinctive, a part of the happy instinct that had guided him to my door and helped him to spell out my name on the card nailed to it. He had had no other introduction to me than a guess, from the shape of my high north window, seen outside, that my place was a studio and that as a studio it would contain an artist. He had wandered to England in search of fortune, like other itinerants, and had embarked, with a partner and a small green hand-cart, on the sale of penny ices. The ices had melted away and the partner had dissolved in their train. My young man wore tight yellow trousers with reddish stripes and his name was Oronte. He was sallow but fair, and when I put him into some old clothes of my own he looked like an Englishman. He was as good as Miss Churm, who could look, when requested, like an Italian.

CHAPTER IV

I thought Mrs. Monarch's face slightly convulsed when, on her coming back with her husband, she found Oronte installed. It was strange to have to recognise in a sc.r.a.p of a lazzarone a compet.i.tor to her magnificent Major. It was she who scented danger first, for the Major was anecdotically unconscious. But Oronte gave us tea, with a hundred eager confusions--he had never been concerned in so queer a process--and I think she thought better of me for having at last an "establishment."

They saw a couple of drawings that I had made of the establishment, and Mrs. Monarch hinted that it never would have struck her he had sat for them. "Now the drawings you make from US, they look exactly like us,"

she reminded me, smiling in triumph; and I recognised that this was indeed just their defect. When I drew the Monarchs I couldn't anyhow get away from them--get into the character I wanted to represent; and I hadn't the least desire my model should be discoverable in my picture.

Miss Churm never was, and Mrs. Monarch thought I hid her, very properly, because she was vulgar; whereas if she was lost it was only as the dead who go to heaven are lost--in the gain of an angel the more.

By this time I had got a certain start with "Rutland Ramsay," the first novel in the great projected series; that is I had produced a dozen drawings, several with the help of the Major and his wife, and I had sent them in for approval. My understanding with the publishers as I have already hinted, had been that I was to be left to do my work, in this particular case, as I liked, with the whole book committed to me; but my connexion with the rest of the series was only contingent. There were moments when, frankly, it WAS a comfort to have the real thing under one's hand for there were characters in "Rutland Ramsay" that were very much like it. There were people presumably as erect as the Major and women of as good a fas.h.i.+on as Mrs. Monarch. There was a great deal of country-house life-treated, it is true, in a fine fanciful ironical generalised way--and there was a considerable implication of knickerbockers and kilts. There were certain things I had to settle at the outset; such things for instance as the exact appearance of the hero and the particular bloom and figure of the heroine. The author of course gave me a lead, but there was a margin for interpretation. I took the Monarchs into my confidence, I told them frankly what I was about, I mentioned my embarra.s.sments and alternatives. "Oh take HIM!" Mrs.

Monarch murmured sweetly, looking at her husband; and "What could you want better than my wife?" the Major inquired with the comfortable candour that now prevailed between us.

I wasn't obliged to answer these remarks--I was only obliged to place my sitters. I wasn't easy in mind, and I postponed a little timidly perhaps the solving of my question. The book was a large canvas, the other figures were numerous, and I worked off at first some of the episodes in which the hero and the heroine were not concerned. When once I had set THEM up I should have to stick to them--I couldn't make my young man seven feet high in one place and five feet nine in another. I inclined on the whole to the latter measurement, though the Major more than once reminded me that he looked about as young as any one. It was indeed quite possible to arrange him, for the figure, so that it would have been difficult to detect his age. After the spontaneous Oronte had been with me a month, and after I had given him to understand several times over that his native exuberance would presently const.i.tute an insurmountable barrier to our further intercourse, I waked to a sense of his heroic capacity. He was only five feet seven, but the remaining inches were latent. I tried him almost secretly at first, for I was really rather afraid of the judgement my other models would pa.s.s on such a choice. If they regarded Miss Churm as little better than a snare what would they think of the representation by a person so little the real thing as an Italian street-vendor of a protagonist formed by a public school?

If I went a little in fear of them it wasn't because they bullied me, because they had got an oppressive foothold, but because in their really pathetic decorum and mysteriously permanent newness they counted on me so intensely. I was therefore very glad when Jack Hawley came home: he was always of such good counsel. He painted badly himself, but there was no one like him for putting his finger on the place. He had been absent from England for a year; he had been somewhere--I don't remember where--to get a fresh eye. I was in a good deal of dread of any such organ, but we were old friends; he had been away for months and a sense of emptiness was creeping into my life. I hadn't dodged a missile for a year.

He came back with a fresh eye, but with the same old black velvet blouse, and the first evening he spent in my studio we smoked cigarettes till the small hours. He had done no work himself, he had only got the eye; so the field was clear for the production of my little things. He wanted to see what I had produced for the CHEAPSIDE, but he was disappointed in the exhibition. That at least seemed the meaning of two or three comprehensive groans which, as he lounged on my big divan, his leg folded under him, looking at my latest drawings, issued from his lips with the smoke of the cigarette.

"What's the matter with you?" I asked.

"What's the matter with you?"

"Nothing save that I'm mystified."

"You are indeed. You're quite off the hinge. What's the meaning of this new fad?" And he tossed me, with visible irreverence, a drawing in which I happened to have depicted both my elegant models. I asked if he didn't think it good, and he replied that it struck him as execrable, given the sort of thing I had always represented myself to him as wis.h.i.+ng to arrive at; but I let that pa.s.s--I was so anxious to see exactly what he meant. The two figures in the picture looked colossal, but I supposed this was not what he meant, inasmuch as, for aught he knew to the contrary, I might have been trying for some such effect. I maintained that I was working exactly in the same way as when he last had done me the honour to tell me I might do something some day. "Well, there's a screw loose somewhere," he answered; "wait a bit and I'll discover it."

I depended upon him to do so: where else was the fresh eye? But he produced at last nothing more luminous than "I don't know--I don't like your types." This was lame for a critic who had never consented to discuss with me anything but the question of execution, the direction of strokes and the mystery of values.

"In the drawings you've been looking at I think my types are very handsome."

"Oh they won't do!"

"I've been working with new models."

"I see you have. THEY won't do."

"Are you very sure of that?"

"Absolutely--they're stupid."

"You mean I am--for I ought to get round that."

"You can't--with such people. Who are they?"

I told him, so far as was necessary, and he concluded heartlessly: "CE SONT DES GENS QU'IL FAUT METTRE A LA PORTE."

"You've never seen them; they're awfully good"--I flew to their defence.

"Not seen them? Why all this recent work of yours drops to pieces with them. It's all I want to see of them."

"No one else has said anything against it--the CHEAPSIDE people are pleased."

"Every one else is an a.s.s, and the CHEAPSIDE people the biggest a.s.ses of all. Come, don't pretend at this time of day to have pretty illusions about the public, especially about publishers and editors. It's not for SUCH animals you work--it's for those who know, COLORO CHE SANNO; so keep straight for me if you can't keep straight for yourself. There was a certain sort of thing you used to try for--and a very good thing it was. But this twaddle isn't in it." When I talked with Hawley later about "Rutland Ramsay" and its possible successors he declared that I must get back into my boat again or I should go to the bottom. His voice in short was the voice of warning.

I noted the warning, but I didn't turn my friends out of doors. They bored me a good deal; but the very fact that they bored me admonished me not to sacrifice them--if there was anything to be done with them--simply to irritation. As I look back at this phase they seem to me to have pervaded my life not a little. I have a vision of them as most of the time in my studio, seated against the wall on an old velvet bench to be out of the way, and resembling the while a pair of patient courtiers in a royal antechamber. I'm convinced that during the coldest weeks of the winter they held their ground because it saved them fire.

Their newness was losing its gloss, and it was impossible not to feel them objects of charity. Whenever Miss Churm arrived they went away, and after I was fairly launched in "Rutland Ramsay" Miss Churm arrived pretty often. They managed to express to me tacitly that they supposed I wanted her for the low life of the book, and I let them suppose it, since they had attempted to study the work--it was lying about the studio--without discovering that it dealt only with the highest circles.

They had dipped into the most brilliant of our novelists without deciphering many pa.s.sages. I still took an hour from them, now and again, in spite of Jack Hawley's warning: it would be time enough to dismiss them, if dismissal should be necessary, when the rigour of the season was over. Hawley had made their acquaintance--he had met them at my fireside--and thought them a ridiculous pair. Learning that he was a painter they tried to approach him, to show him too that they were the real thing; but he looked at them across the big room, as if they were miles away: they were a compendium of everything he most objected to in the social system of his country. Such people as that, all convention and patent-leather, with e.j.a.c.u.l.a.t.i.o.ns that stopped conversation, had no business in a studio. A studio was a place to learn to see, and how could you see through a pair of feather-beds?

The main inconvenience I suffered at their hands was that at first I was shy of letting it break upon them that my artful little servant had begun to sit to me for "Rutland Ramsay." They knew I had been odd enough--they were prepared by this time to allow oddity to artists--to pick a foreign vagabond out of the streets when I might have had a person with whiskers and credentials; but it was some time before they learned how high I rated his accomplishments. They found him in an att.i.tude more than once, but they never doubted I was doing him as an organ-grinder. There were several things they never guessed, and one of them was that for a striking scene in the novel, in which a footman briefly figured, it occurred to me to make use of Major Monarch as the menial. I kept putting this off, I didn't like to ask him to don the livery--besides the difficulty of finding a livery to fit him. At last, one day late in the winter, when I was at work on the despised Oronte, who caught one's idea on the wing, and was in the glow of feeling myself go very straight, they came in, the Major and his wife, with their society laugh about nothing (there was less and less to laugh at); came in like country-callers--they always reminded me of that--who have walked across the park after church and are presently persuaded to stay to luncheon. Luncheon was over, but they could stay to tea--I knew they wanted it. The fit was on me, however, and I couldn't let my ardour cool and my work wait, with the fading daylight, while my model prepared it.

So I asked Mrs. Monarch if she would mind laying it out--a request which for an instant brought all the blood to her face. Her eyes were on her husband's for a second, and some mute telegraphy pa.s.sed between them.

Their folly was over the next instant; his cheerful shrewdness put an end to it. So far from pitying their wounded pride, I must add, I was moved to give it as complete a lesson as I could. They bustled about together and got out the cups and saucers and made the kettle boil. I know they felt as if they were waiting on my servant, and when the tea was prepared I said: "He'll have a cup, please--he's tired." Mrs.

Monarch brought him one where he stood, and he took it from her as if he had been a gentleman at a party squeezing a crush-hat with an elbow.

Then it came over me that she had made a great effort for me--made it with a kind of n.o.bleness--and that I owed her a compensation. Each time I saw her after this I wondered what the compensation could be. I couldn't go on doing the wrong thing to oblige them. Oh it WAS the wrong thing, the stamp of the work for which they sat--Hawley was not the only person to say it now. I sent in a large number of the drawings I had made for "Rutland Ramsay," and I received a warning that was more to the point than Hawley's. The artistic adviser of the house for which I was working was of opinion that many of my ill.u.s.trations were not what had been looked for. Most of these ill.u.s.trations were the subjects in which the Monarchs had figured. Without going into the question of what HAD been looked for, I had to face the fact that at this rate I shouldn't get the other books to do. I hurled myself in despair on Miss Churm--I put her through all her paces. I not only adopted Oronte publicly as my hero, but one morning when the Major looked in to see if I didn't require him to finish a CHEAPSIDE figure for which he had begun to sit the week before, I told him I had changed my mind--I'd do the drawing from my man. At this my visitor turned pale and stood looking at me. "Is HE your idea of an English gentleman?" he asked.

I was disappointed, I was nervous, I wanted to get on with my work; so.

I replied with irritation: "Oh my dear Major--I can't be ruined for YOU!"

It was a horrid speech, but he stood another moment--after which, without a word, he quitted the studio. I drew a long breath, for I said to myself that I shouldn't see him again. I hadn't told him definitely that I was in danger of having my work rejected, but I was vexed at his not having felt the catastrophe in the air, read with me the moral of our fruitless collaboration, the lesson that in the deceptive atmosphere of art even the highest respectability may fail of being plastic.

I didn't owe my friends money, but I did see them again. They reappeared together three days later, and, given all the other facts, there was something tragic in that one. It was a clear proof they could find nothing else in life to do. They had threshed the matter out in a dismal conference--they had digested the bad news that they were not in for the series. If they weren't useful to me even for the CHEAPSIDE their function seemed difficult to determine, and I could only judge at first that they had come, forgivingly, decorously, to take a last leave. This made me rejoice in secret that I had little leisure for a scene; for I had placed both my other models in position together and I was pegging away at a drawing from which I hoped to derive glory. It had been suggested by the pa.s.sage in which Rutland Ramsay, drawing up a chair to Artemisia's piano-stool, says extraordinary things to her while she ostensibly fingers out a difficult piece of music. I had done Miss Churm at the piano before--it was an att.i.tude in which she knew how to take on an absolutely poetic grace. I wished the two figures to "compose"

together with intensity, and my little Italian had entered perfectly into my conception. The pair were vividly before me, the piano had been pulled out; it was a charming show of blended youth and murmured love, which I had only to catch and keep. My visitors stood and looked at it, and I was friendly to them over my shoulder.