Memoirs of My Dead Life Part 4

SPENT LOVES

I am going to see dear and affectionate friends. The train would take me to them, that droll little _chemin de fer de ceinture_, and it seems a pity to miss the Gare St. Lazare, its Sunday morning tumult of Parisians starting with their mistresses and their wives for a favourite suburb. I never run up these wide stairways leading to the great wide galleries full of bookstalls (charming yellow notes), and pierced with little _guichets_ painted round with blue, without experiencing a sensation of happy lightness--a light-headedness that I a.s.sociate with the month of May in Paris. But the tramway that pa.s.ses through the Place de la Concorde goes as far as Pa.s.sy, and though I love the droll little _chemin de fer de ceinture_ I love this tramway better. It speeds along the quays between the Seine and the garden of the Champs Elysees, through miles of chestnut bloom, the roadway chequered with shadows of chestnut leaves; the branches meet overhead, and in a faint delirium of the senses I catch at a bloom, cherish it for a moment, and cast it away. The plucky little steamboats are making for the landing-places, stemming the current. I love this sprightly little river better than the melancholy Thames, along whose banks saturnine immoralities flourish like bulrushes!

Behold the white architecture, the pillars, the bal.u.s.traded steps, the domes in the blue air, the monumented swards! Paris, like all pagan cities, is full of statues. A little later we roll past gardens, gaiety is in the air.... And then the streets of Pa.s.sy begin to appear, mean streets, like London streets. I like them not; but the railway station is compensation; the little railway station like a house of cards under toy trees, and the train steaming out into the fanciful country. The bright wood along which it speeds is like the season's millinery.

It is pleasant to notice everything in Paris, the flymen asleep on their box-seats, the little horses dozing beneath the chestnut trees, the bloused workmen leaning over a green-painted table in an arbour, drinking wine at sixteen sous the litre, the villas of Auteuil, rich woodwork, rich iron railings, and the summer hush about villas engarlanded. Auteuil is so French, its symbolism enchants me. Auteuil is like a flower, its petals opening out to the kiss of the air, its roots feeling for way among the rich earth. Ah, the land of France, its vineyards and orchards, its earthly life! Thoughts come unbidden, my thoughts sing together, and I hardly knowing what they are singing.

My thoughts are singing like the sun; do not ask me their meaning; they mean as much and as little as the sun that I am part of--the sun of France that I shall enjoy for thirty days. May takes me to dear and affectionate friends who await me at Auteuil, and June takes me away from them. There is the villa! And there amid the engarlanding trees my friend, dressed in pale yellow, sits in front of his easel.

How the sunlight plays through the foliage, leaping through the rich, long gra.s.s; and amid the rhododendrons in bloom sits a little girl of four, his model, her frock and cap impossibly white under the great, gaudy greenery.

Year after year the same affectionate welcome, the same spontaneous welcome in this garden of rhododendrons and chestnut bloom. I would linger in the garden, but I may not, for breakfast is ready _et il ne faut pas faire manquer la messe a Madame. La messe_! How gentle the word is, much gentler than our word, ma.s.s, and it shocks us hardly at all to see an old lady going away in her carriage _pour entendre la messe_. Religion purged of faith is a pleasant, almost a pretty thing. Some fruits are better dried than fresh; religion is such a one, and religion, when nothing is left of it but the pleasant, familiar habit, may be defended, for were it not for our habits life would be unrecorded, it would be all on the flat, as we would say if we were talking about a picture without perspective. Our habits are our stories, and tell whence we have come and how we came to be what we are. This is quite a pretty reflection, but there is no time to think the matter out--here is the doctor! He lifts his skull-cap, and how beautiful is the gesture; his dignity is the dignity that only goodness gives; and his goodness is a pure gift, existing independent of formula, a thing in itself, like Manet's painting. It was Degas who said, "A man whose profile no one ever saw," and the aphorism reminds us of the beautiful goodness that floats over his face, a light from Paradise. But why from Paradise? Paradise is an ugly ecclesiastical invention, and angels are an ugly Hebrew invention. It is unpardonable to think of angels in Auteuil; an angel is a prig compared to the dear doctor, and an angel has wings. Well, so had this admirable chicken, a bird that was grown for the use of the table, produced like a vegetable. A dear bird that was never allowed to run about and weary itself as our helpless English chicken is; it lived to get fat without acquiring any useless knowledge or desire of life; it became a capon in tender years, and then a pipe was introduced into its mouth and it was fed by machinery until it could hardly walk, until it could only stagger to its bed, and there it lay in happy digestion until the hour came for it to be crammed again. So did it grow up without knowledge or sensation or feeling of life, moving gradually, peacefully towards its predestined end--a delicious repast! What better end, what greater glory than to be a fat chicken? The carca.s.ses of sheep that hang in butchers' shops are beginning to horrify the conscience of Europe. To cut a sheep's throat is an offensive act, but to clip out a bird's tongue with a long pair of scissors made for the purpose is genteel.

It is true that it beats its wings for a few moments, but we must not allow ourselves to be disturbed by a mere flutter of feathers. Man is merciful, and saved it from life. It grew like an asparagus! And talking of asparagus, here are some from Argenteuil thick as umbrellas and so succulent! A word about the wine. French red wines in England always seem to taste like ink, but in France they taste of the sun.

Melons are better in June--that one comes, no doubt, from Algeria. It is, however, the kind I like best, the rich, red melon that one eats only in France; a thing of the moment, unrememberable; but the chicken will never be forgotten; twenty years hence I shall be talking of a chicken, that in becoming a fat chicken acquired twenty years of immortality--which of us will acquire as many?

As we rise from table the doctor calls me into his studio: for he would give me an excellent cigar before he bids me good-bye, and having lighted it I follow my friend to the studio at the end of the garden, to that airy drawing-room which he has furnished in pale yellow and dark blue. On the walls are examples of the great modern masters--Manet and Monet. That view of a plain by Monet--is it not facile? It flows like a j.a.panese water-colour: the low horizon evaporating in the low light, the spire of the town visible in the haze. And look at the celebrated "Lecon de Danse" by Degas--that dancer descending the spiral staircase, only her legs are visible, the staircase cutting the picture in twain. On the right is the dancing cla.s.s and the dancing master; something has gone wrong, and he holds out his hands in entreaty; a group of dancers are seated on chairs in the foreground, and their mothers are covering their shoulders with shawls--good mothers anxious for their daughters' welfare, for their advancement in life.

This picture betrays a mind curious, inquisitive and mordant; and that plaid shawl is as unexpected as an adjective of Flaubert's. A portrait by Manet hangs close by, large, permanent and mysterious as nature.

Degas is more intellectual, but how little is intellect compared with a gift like Manet's! Yesterday I was in the Louvre, and when wearied with examination and debate--I had gone there on a special errand--I turned into the Salle Carree for relaxation, and there wandered about, waiting to be attracted. Long ago the Mona Liza was my adventure, and I remember how t.i.tian's "Entombment" enchanted me; another year I delighted in the smooth impartiality of a Terbourg interior; but this year Rembrandt's portrait of his wife held me at gaze. The face tells of her woman's life, her woman's weakness, and she seems conscious of the burden of her s.e.x, and of the burden of her own special lot--she is Rembrandt's wife, a servant, a satellite, a watcher. The emotion that this picture awakens is an almost physical emotion. It gets at you like music, like a sudden breath of perfume. When I approach, her eyes fade into brown shadow, but when I withdraw they begin telling her story. The mouth is no more than a little shadow, but what wistful tenderness there is in it! and the colour of the face is white, faintly tinted with bitumen, and in the cheeks some rose madder comes through the yellow. She wears a fur jacket, but the fur was no trouble to Rembrandt; he did not strive for realism. It is fur, that is sufficient. Grey pearls hang in her ears, there is a brooch upon her breast, and a hand at the bottom of the picture pa.s.sing out of the frame, and that hand reminds one, as the chin does, of the old story that G.o.d took a little clay and made man out of it. That chin and that hand and arm are moulded without display of knowledge, as Nature moulds. The picture seems as if it had been breathed upon the canvas.

Did not a great poet once say that G.o.d breathed into Adam? and here it is even so.

The other pictures seem dry, insignificant; the Mona Liza, celebrated in literature, hanging a few feet away, seems fact.i.tious when compared with this portrait; I have heard that tedious smile excused on the ground that she is smiling at the nonsense she hears talked about her; that hesitating smile which held my youth in tether has come to seem but a grimace; and the pale mountains no more mysterious than a globe or map seen from a little distance. The Mona Liza is a sort of riddle, an acrostic, a poetical decoction, a ballade, a rondel, a villanelle or ballade with double burden, a sestina, that is what it is like, a sestina or chant royal. The Mona Liza, being literature in intention rather than painting, has drawn round her many poets. We must forgive her many mediocre verses for the sake of one incomparable prose pa.s.sage. She has pa.s.sed out of that mysterious misuse of oil paint, that arid glazing of _terre verte_, and has come into her possession of eternal life, into the immortality of Pater's prose.

Degas is wilting already; year after year he will wither, until one day some great prose writer will arise and transfer his spirit into its proper medium--literature. The Mona Liza and the "Lecon de Danse"

are intellectual pictures; they were painted with the brains rather than with the temperaments; and what is any intellect compared with a gift like Manet's! Leonardo made roads; Degas makes witticisms.

Yesterday I heard one that delighted me far more than any road would, for I have given up bicycling. Somebody was saying he did not like Daumier, and Degas preserved silence for a long while. "If you were to show Raphael," he said at last, "a Daumier, he would admire it, he would take off his hat; but if you were to show him a Cabanel he would say with a sigh 'That is my fault!'"

My reverie is broken by the piano; my friend is playing, and it is pleasant to listen to music in this airy studio. But there are women I must see, women whom I see every time I go to Paris, and too much time has been spent in the studio--I must go.

But where shall I go? My thoughts strike through the little streets of Pa.s.sy, measuring the distance between Pa.s.sy and the Arc de Triomphe.

For a moment I think that I might sit under the trees and watch the people returning from the races. Were she not dead I might stop at her little house in the fortifications among the lilac trees. There is her portrait by Manet on the wall, the very toque she used to wear. How wonderful the touch is; the beads--how well they are rendered! And while thinking of the extraordinary handicraft I remember his studio, and the tall fair woman like a tea-rose coming into it: Mary Laurant!

The daughter of a peasant, and the mistress of all the great men--perhaps I should have said of all the distinguished men. I used to call her _toute la lyre_.

The last time I saw her we talked about Manet. She said that every year she took the first lilac to lay upon his grave. Is there one of her many lovers who brings flowers to her grave? What was so rememberable about her was her pleasure in life, and her desire to get all the pleasure, and her consciousness of her desire to enjoy every moment of her life. Evans, the great dentist, settled two thousand a year upon her, and how angry he was one night on meeting Manet on the staircase! In order to rid herself of her lover she invited him to dinner, intending to plead a sick headache after dinner.... She must go and lie down. But as soon as her guest was gone she took off the _peignoir_ which hid her ball dress and signed to Manet, who was waiting at the street corner, with her handkerchief. But as they went downstairs together whom should they meet but the dentist _qui a oublie ses carnets_. And he was so disappointed at meeting his beautiful but deceitful mistress that he didn't visit her again for three or four days. His anger mattered very little to Mary. Someone else settled two thousand a year more upon her; and having four thousand a year or thereabouts, she dedicated herself to the love and conversation of those who wrote books and music and painted pictures.

We humans are more complicated than animals, and we love through the imagination, at least the imagination stimulates the senses, acting as a sort of adjuvant. The barmaid falls in love with No. 1 because he wipes a gla.s.s better than No. 2, and Mary fell in love with Coppee on account of his sonnet "Le Lys," and she grew indifferent when he wrote poems like "La Nourrice" or "Le pet.i.t epicier de Montrouge qui ca.s.sait le sucre avec melancolie." And it was at this time when their love story was at wane that I became a compet.i.tor. But one day Madame Albazi came to Manet's studio, a splendid creature in a carriage drawn by Russian horses from the Steppes, so she said; but who can tell whether a horse comes from the Steppes or from the horse-dealers? Nor does it matter when the lady is extraordinarily attractive, when she inspires the thought--a mistress for Attila! That is not exactly how Manet saw her: but she looks like that in his pastel. In it she holds a tortoisesh.e.l.l fan widespread across her bosom, and it was on one of the sticks of the fan that he signed his name. A great painter always knows where to sign his pictures, and he never signs twice in the same place. The merit of these Russians is that they never leave one in doubt. She could not sit that day, she was going to the Bois, and asked me and a young man who happened to be in Manet's studio at the time to go there with her, and we went there drawn by the Russian horses, the young man and I wondering all the while which was going to be the countess's lover; we played hard for her; but that day I was wiser than he; I let him talk and recite poetry and jingle out all the aphorisms that he had been collecting for years, feeling his witticisms were in vain, for she was dark as a raven and I was as gold as a sunflower. It was at the corner of the Rue Pontiere that we got rid of him. Some days afterwards she sat to Manet. The pastel now hangs in the room of a friend of mine; I bought it for him.

The picture of a woman one knows is never so agreeable a companion as the picture of a woman one has never seen. One's memory and the painter's vision are in conflict, and I like to think better of the long delicate nose, and the sparkling eyes, and a mouth like red fruit. The pastel once belonged to me; it used to hang in my rooms; for with that grace of mind which never left him, Manet said one day, "I always promised you a picture," and searching among the pastels that lined the wall he turned to me saying, "Now I think that this comes to you by right." When I left Paris hurriedly, and left my things to be sold, the countess came to the sale and bought her picture, and then she sold it years afterwards to a picture-dealer, tempted by the price that Manet's pictures were fetching. Hearing that it was for sale, I bought it, as I have said, for a friend. And now I have told the whole story, forgetting nothing except that it was years afterwards, when I had written "Les Confessions d'un jeune Anglais" in the _Revue Independante_, that Mary Laurant asked me--oh! she was very enterprising; she sent the editor of the _Revue_ to me; an appointment was made. She was wonderful in the garden. She said the moment I arrived, "Now, my dear ----, you must go," and we walked about, I listening to her aphorisms. Mary was beautiful, but she liked one to love her for her wit, to admire her wit; and when I asked her why she did not leave Evans, the great dentist, she said, "That would be a base thing to do. I content myself by deceiving him," and then--this confidence seemed to have a particular significance--"I am not a woman," she said, "that is made love to in a garden." Her garden was a nook at the fortifications, hidden among lilac bushes. She wished to show me her house, and we talked for a long time in her boudoir. But I knew she was Mallarme's mistress at the time, so nothing came of this _caprice litteraire_.

My thoughts run upon women, and why not? On what would you have them run? on copper mines? Woman is the legitimate subject of all men's thoughts. We pretend to be interested in other things. In the smoking-rooms I have listened to men talking about hunting, and I have said to myself, "Your interest is a pretence: of what woman are you thinking?" We forget women for a little while when we are thinking about art, but only for a while. The legitimate occupation of man's mind is woman; and listening to my friend who is playing music--music I do not care to hear, Brahms--I fall to thinking which of the women I have known in years past would interest me most to visit.

In the spring weather the walk from Pa.s.sy to the Champs Elysees would be pleasant and not too far; I like to see the swards and the poplars and the villas, the tall iron railings, and the flower vases hidden in bouquets of trees. These things are Paris; the mind of the country, that mind which comes out of a long past, and which may be defined as a sort of ancestral beauty and energy is manifested everywhere in Paris; and a more beautiful day for seeing the tall, white houses and the villas and the trees and the swards can hardly be imagined. I should be interested in all these things, but my real interest would be in one little hillside, a line of houses, eight or nine, close by the Arc de Triomphe, the most ordinary in the avenue. She liked the ordinary, and I have often wondered what was the link of a.s.sociation?

Was it no more than her blonde hair drawn up from the neck, her fragrant skin, or her perverse subtle senses? It was something more, but you must not ask me to explain further. I like to remember the rustle of a flowered dress she wore as she moved, drifting like a perfume, pa.s.sing from her frivolous bedroom into the drawing-room. A room without taste, stiff and middle-cla.s.s, notwithstanding the crowns placed over the tall portraits. I see a picture of two children; but she is the fairer, and in her pale eyes and thinly-curved lips there is a mixture of yearning and restlessness. As the child was, so is the woman, and Georgette has lived to paper one entire wall of her bedroom with trophies won in the battlefields of ardently danced cotillons.

The other child is of a stricter nature, and even in the picture her slightly darkened ringlets are less wanton than her sister's. Her eyes are more pensive, and any one could have predicted children for one and cotillon favours for the other.

We often sat on her bedroom balcony reading, talking, or watching the sky growing pale beyond Mount Valerian, the shadow drifting and defining and shaping the hill. In hours like the present, dreaming in a studio, we remember those who deceived us, those who made us suffer, and in these hours faces, fragments of faces, rise out of a past, the line of a bent neck, the whiteness of a hand, and the eyes. I remember her eyes; one day in an orchard, in the lush and luxuriance of June, her husband was walking in front with a friend, and I was pleading.

"Well," she said, raising her eyes, "you can kiss me now." But her husband was in front, and he was a thick-set man, and there was a stream, and I foresaw a struggle--and an unpleasant one: confess and be done with it!--I didn't dare to kiss her, and I don't think she ever forgave me that lack of courage. All this is twenty years ago, and is it not silly to spend the afternoon thinking of such rubbish?

But it is of such rubbish that our lives are made. Shall I go to her now and see her in her decadence? Grey hair has not begun to appear yet in the blonde, it will never turn grey, but she was shrivelling a little the last time I saw her. And next year she will be older. At her age a year counts for double. Others are more worthy of a visit.

If I do not go to her this year, shall I go next?

In imagination I go past her house, thinking of a man she used to talk about, "the man she left her 'ome for"; that is how the London street girl would word it. He had been the centre of a disgraceful scandal in his old age, a sordid but characteristic end for the Don Juan of the nineteenth century. Perhaps she loved the big, bearded man whose photograph she had once shown me. He killed himself for not having enough money to live as he wished to live. That was her explanation. I think there was some blackmail; she had to pay some money to the dead man's relations for letters. These sensual American women are like orchids, and who would hesitate between an orchid and a rose? It was twenty years ago since she turned round on me in the gloom of her brougham unexpectedly, and it was as if some sensual spirit had come out of a world of perfume and lace.

In imagination I have descended the Champs Elysees, and have crossed the Place de la Concorde, and the Seine is flowing past just as it flowed when the workmen were building Notre Dame, just as it will flow a thousand years hence. A thousand years hence men will stand watching its current, thinking of little blonde women, and the shudder they can send through the flesh; they can, but not twenty years afterwards. The Reverend Donne has it that certain ghosts do not raise the hair but the flesh; mine do no more than to set me thinking that rivers were not created to bear s.h.i.+ps to the sea, but to set our memories flowing.

Full many a time have I crossed the Pont Neuf on my way to see another woman--an American! The time comes when desire wilts and dies, but the s.e.xual interest never dies, and we take pleasure in thinking in middle life of those we enjoyed in youth. She, of whom I am thinking, lives far away in the Latin Quarter, in an ill-paven street. How it used to throw my carriage from side to side! I have been there so often that I know all the shops, and where the shops end, and there is a whitewashed wall opposite her house; the street bends there. The _concierge_ is the same, a little thicker, a little heavier; she always used to have a baby in her arms, now there are no more babies; her children, I suppose, have grown up and have gone away. There used to be a darkness at the foot of the stairs, and I used to slip on those stairs, so great was my haste; the very tinkle of the bell I remember, and the trepidation with which I waited.

Her rooms looked as if they had never been sat in; even the studio was formal, and the richly-bound volumes on the tables looked as if they had never been opened. She only kept one servant, a little, redheaded girl, and seeing this girl back again after an absence of many years, I spoke to Lizzie of the old days. Lizzie told me her servant's story.

She had gone away to be married, and after ten years of misfortune she had returned to her old mistress, this demure, discreet and sly New Englander, who concealed a fierce sensuality under a homely appearance. Lizzie must have had many lovers, but I knew nothing of her except her sensuality, for she had to let me into that secret.

She was a religious woman, a devout Protestant, and thinking of her my thoughts are carried across the sea, and I am in the National Gallery looking at Van Eyke's picture, studying the grave sensuality of the man's face--he speaks with uplifted hand like one in a pulpit, and the gesture and expression tell us as plainly as if we heard him that he is admonis.h.i.+ng his wife (he is given to admonition), informing her that her condition--her new pregnancy--is an act of the Divine Will.

She listens, but how curiously! with a sort of partial comprehension afloat upon her face, more of the guinea-pig than of the rabbit type.

The twain are sharply differentiated, and one of the objects of the painter seems to have been to show us how far one human being may be removed from another. The husband is painfully clear to himself, the wife is happily unconscious of herself. Now everything in the picture suggests order; the man's face tells a mind the same from day to day, from year to year, the same pa.s.sions, the same prayers; his apparel, the wide-brimmed hat, the cloak falling in long straight folds, the peaked shoon, are an habitual part of him. We see little of the room, but every one remembers the chandelier hanging from the ceiling reflected in the mirror opposite. These reflections have lasted for three hundred years; they are the same to-day as the day they were painted, and so is the man; he lives again, he is a type that Nature never wearies of reproducing, for I suppose he is essential to life.

This sober Flemish interior expresses my mistress's character almost as well as her own apartment used to do. I always experienced a chill, a sense of formality, when the door was opened, and while I stood waiting for her in the prim drawing-room. Every chair was in its appointed place, large, gilt-edged, ill.u.s.trated books lay upon the tables.... There was not much light in her rooms; heavy curtains clung about the windows, and tapestries covered the walls. In the pa.s.sage there were oak chests, and you can imagine, reader, this woman waiting for me by an oak table, a little ashamed of her thoughts, but unable to overcome them. Once I heard her playing the piano, and it struck me as an affectation. As I let my thoughts run back things forgotten emerge; here comes one of her gowns! a dark-green gown, the very same olive green as the man's cloak. She wore her hair short like a boy's, and though it ran all over her head in little curls, it did not detract at all from the New England type, the woman in whose speech Biblical phraseology still lingers. Lizzie was a miraculous survival of the Puritans who crossed the Atlantic in the _Mayflower_ and settled in New England. Paris had not changed her. She was _le grave Puritan du tableau_. The reader will notice that I write _le grave Puritan_, for of his submissive, childlike wife there was nothing in Lizzie except her s.e.x. As her instinct was in conflict with her ideals, her manner was studied, and she affected a certain cheerfulness which she dared not allow to subside. She never relinquished her soul, never fell into confidence, so in a sense we always remained strangers, for it is when lovers tell their illusions and lonelinesses that they know each other, the fiercest spasm tells us little, and it is forgotten, whereas the moment when a woman sighs and breaks into a simple confidence is remembered years afterwards, and brings her before us though she be underground or a thousand miles away. These intimacies she had not, but there was something true and real in her, something which I cannot find words to express to-day; she was a clever woman, that was it, and that is why I pay her the homage of an annual visit. These courteous visits began twenty years ago; they are not always pleasant, yet I endure them. Our conversation is often laboured, there are awkward and painful pauses, and during these pauses we sit looking at each other, thinking no doubt of the changes that time has wrought. One of her chief charms was her figure--one of the prettiest I have ever seen--and she still retains a good deal of its grace. But she shows her age in her hands; they have thickened at the joints, and they were such beautiful hands. Last year she spoke of herself as an old woman, and the remark seemed to me disgraceful and useless, for no man cares to hear a woman whom he has loved call herself old; why call attention to one's age, especially when one does not look it? and last year she looked astonis.h.i.+ngly young for fifty-five; that was her age, she said. She asked me my age; the question was unpleasant, and before I was aware of it I had told her a lie, and I hate those who force me to tell lies. The interview grew painful, and to bring it to a close she asked me if I would care to see her husband.

We found the old man alone in his studio, looking at an engraving under the light of the lamp, much more like a picture than any of his paintings. She asked him if he remembered me, and he got up muttering something, and to help him I mentioned that I had been one of his pupils. The dear old man said of course he remembered, and that he would like to show me his pictures, but Lizzie said--I suppose it was nervousness that made her say it, but it was a strangely tactless remark--"I don't think, dear, that Mr. ---- cares for your pictures."

However celebrated one may be, it is always mortifying to hear that some one, however humble the person may be, does not care for one's art. But I saved the situation, and I think my remarks were judicious and witty. It is not always that one thinks of the right words at the right moment, but it would be hard to improve on the admonition that she did me a wrong, that, like every one who liked art, I had changed my opinion many times, but after many wanderings had come back to the truth, and in order to deceive the old man I spoke of Ingres. I had never failed in that love, and how could I love Ingres without loving him? The contrary was the truth, but the old man's answer was very sweet. Forgetful of his own high position, he answered, "We may both like Ingres, but it is not probable that we like the same Ingres." I said I did not know any Ingres I did not admire, and asked him which he admired, and we had a pleasant conversation about the Apotheosis of Homer, and the pictures in the Musee de Montauban. Then the old man said, "I must show Mr. ---- my pictures." No doubt he had been thinking of them all through the conversation about the Musee de Montauban. "I must show you my Virgin," and he explained that the face of the Infant Jesus was not yet finished.

It was wonderful to see this old man, who must have been nearly eighty, taking the same interest in his pictures as he took fifty years ago. Some stupid reader will think, perchance, that it mattered that I had once loved his wife. But how could such a thing matter?

Think for a moment, dear reader, for all readers are dear, even the stupidest, and you will see that you are still entangled in conventions and prejudices. Perhaps, dear reader, you think she and I should have dropped on our knees and confessed. Had we done so, he would have thought us two rude people, and nothing more.

What will happen to her when he dies? Will she return to Boston? Shall I ever see her again? Last year I vowed that I would not, and I think it would please her as well if I stayed away.... And she is right, for so long as I am not by her she is with me. But in the same room, amid the familiar furniture, we are divided by the insuperable past, and to retain her I must send her away. The idea is an amusing one; I think I have read it somewhere, it seems to me like something I have read. Did I ever read of a man who sent his mistress away so that his possession might be more complete? Whether I did or didn't matters little, the idea is true to me to-day--in order to possess her I must never see her again. A pretty adventure it would be, nevertheless, to spend a week paying visits to those whom I loved about that time; and I can imagine a sort of Beau Brummel of the emotions going every year to Paris to spend a day with each of his mistresses.

There were others about that time. There was Madame ----. The name is in itself beautiful, characteristically French, and it takes me back to the middle centuries, to the middle of France. I always imagined that tall woman, who thought so quickly and spoke so sincerely, dealing out her soul rapidly, as one might cards, must have been born near Tours. She was so French that she must have come from the very heart of France; she was French as the wine of France; as Balzac, who also came from Tours; and her voice, and her thoughts, and her words transported one; by her side one was really in France; and, as her lover, one lived through every circ.u.mstance of a French love story.

She lived in what is called in Paris an hotel; it had its own _concierge_, and it was nice to hear the man say, "Oui, monsieur, Madame la Marquise est chez elle," to walk across a courtyard and wait in a boudoir stretched with blue silk, to sit under a Louis XVI. rock crystal chandelier. She said one day, "I'm afraid you're thinking of me a great deal," and she leaned her hands on the back of the chair, making it easy for me to take them. She said her hands had not done any kitchen work for five hundred years, and at the time that seemed a very witty thing to say. The drawing-room opened onto a conservatory twenty feet high; it nearly filled the garden, and the marquise used to receive her visitors there. I do not remember who was the marquise's lover when the last fete was given, nor what play was acted; only that the ordinary guests lingered over their light refreshments, scenting the supper, and that to get rid of them we had to bid the marquise ostentatiously goodnight. Creeping round by the back of the house, we gained the bedrooms by the servants' staircase, and hid there until the ordinary guests in decency could delay no longer. As soon as the last one was gone the stage was removed, and the supper tables were laid out. Shall I ever forget the moment when the gla.s.s roof of the conservatory began to turn blue, and the shrilling of awakening sparrows! How haggard we all were, but we remained till eight in the morning. That fete was paid for with the last remnant of the poor marquise's fortune. Afterwards she was very poor, and Suzanne, her daughter, went on the stage and discovered a certain talent for acting which has been her fortune to this day. I will go to the Vaudeville to-night to see her; we might arrange to go together to see her mother's grave. To visit the grave, and to strew azaleas upon it, would be a pretty piece of sentimental mockery. But for my adventure there should be seven visits; Madame ---- would make a fourth; I hear that she is losing her sight, and lives in a chateau about fifty miles from Paris, a chateau built in the time of Louis XIII., with high-pitched roofs and many shutters, and formal gardens with bal.u.s.trades and fish-ponds, yes _et des charmilles--charmilles_ --what is that in English?--avenues of clipped limes. To walk in an avenue of clipped limes with a woman who is nearly blind, and talk to her of the past, would be indeed an adventure far "beyond the range of formal man's emotion."

Madame ---- interrupted our love story. She would be another--that would be five--and I shall think of two more during dinner. But now I must be moving on; the day has ended; Paris is defining itself upon a straw-coloured sky. I must go, the day is done; and hearing the last notes trickle out--somebody has been playing the prelude to "Tristan"--I say: "Another pretty day pa.s.sed, a day of meditation on art and women--and what else is there to meditate about? To-morrow will happily be the same as to-day, and to-morrow I shall again meditate on art and women, and the day after I shall be occupied with what I once heard dear old M'Cormac, Bishop of Galway, describe in his sermon as 'the degrading pa.s.sion of "loave."'"

CHAPTER VII

NINON'S TABLE D'HoTE

The day dies in sultry languor. A warm night breathes upon the town, and in the exhaustion of light and hush of sound, life strikes sharply on the ear and brain.

It was early in the evening when I returned home, and, sitting in the window, I read till surprised by the dusk; and when my eyes could no longer follow the printed page, holding the book between finger and thumb, my face resting on the other hand, I looked out on the garden, allowing my heart to fill with dreams. The book that had interested me dealt with the complex technique of the art of the Low Countries--a book written by a painter. It has awakened in me memories of all kinds, heartrending struggles, youthful pa.s.sion, bitter disappointments; it has called into mind a mult.i.tude of thoughts and things, and, wearied with admiring many pictures and arguing with myself, I am now glad to exchange my book for the gentle hallucinations of the twilight.

I see a line of leaf.a.ge drawn across the Thames, but the line dips, revealing a slip of grey water with no gleam upon it. Warehouses and a factory chimney rise ghostly and grey, and so cold is that grey tint that it might be obtained with black and white; hardly is the warmth of umber needed. Behind the warehouses and the factory chimney the sky is murky and motionless, but higher up it is creamy white, and there is some cloud movement. Four lamps, two on either side of the factory chimney, look across the river; one constantly goes out--always the same lamp--and a moment after it springs into its place again. Across my window a beautiful branch waves like a feather fan. It is the only part of the picture worked out in detail. I watch its soft and almost imperceptible swaying, and am tempted to count the leaves. Below it, and a little beyond it, between it and the river, night gathers in the gardens; and there, amid serious greens, pa.s.ses the black stain of a man's coat, and, in a line with the coat, in the beautifully swaying branch, a belated sparrow is hopping from twig to twig, awakening his mates in search for a satisfactory resting-place. In the sharp towers of Temple Gardens the pigeons have gone to sleep. I can see the cots under the conical caps of slate.

The gross, jaded, uncouth present has slipped from me as a garment might, and I see the past like a little show, struggles and heartbreakings of long ago, and watch it with the same indifferent curiosity as I would the regulated mimicry of a stage play. Pictures from the past come and go without an effort of will; many are habitual memories, but the one before me rises for the first time--for fifteen years it has lain submerged, and now like a water weed or flower it rises--the Countess Ninon de Calvador's boudoir! Her boudoir or her drawing-room, be that as it may, the room into which I was ushered many years ago when I went to see her. I was then a young man, very thin, with sloping shoulders, and that pale gold hair that Manet used to like to paint. I had come with a great bouquet for Ninon, for it was _son jour de fete_, and was surprised and somewhat disappointed to meet a large brunette with many creases in her neck, a loose and unstayed bosom; one could hardly imagine Ninon dressed otherwise than in a _peignoir_--a blue _peignoir_ seemed inevitable.

She was sitting by a dark, broad-shouldered young man when I came in; they were sitting close together; he rose out of a corner and showed me an impressionistic picture of a railway station. He was one of the many young men who at that time thought the subst.i.tution of dots of pink and yellow for the grey and slate and square brushwork of Bastien Lepage was the certain way to paint well. I learned afterwards, during the course of the evening, that he was looked at askance, for even in Montmartre it was regarded as a dishonour to allow the lady with whom you lived to pay for your dinner. Villiers de L'Isle Adam, who had once been Ninon's lover, answered the reproaches levelled against him for having accepted too largely of her hospitality with, "Que de bruit pour quelques cotelettes!" and his transgressions were forgiven him for the sake of the _mot_ which seemed to summarise the moral endeavour and difficulties of the entire quarter. When Villiers was her lover Villiers was middle-aged, and Ninon was a young woman; but when I knew her she was interested in the young generation, yet she kept friends with all her old lovers, never denying them her board. How funny was the impressionist's indignation against Villiers! He charged him with having squandered a great part of Ninon's fortune, but Villiers's answer to the young man was, "He talks like the _concierge_ in my story of 'Les Demoiselles de Bienfillatre.'"

Poor Villiers was not much to blame; it was part of Ninon's temperament to waste her money, and the canvases round the room testified that she spent a great deal on modern art. She certainly had been a rich woman; rumour credited her with spending fifty thousand francs a year, and in her case rumour said no more than the truth, for it would require that at least to live as she lived, keeping open house to all the literature, music, painting, and sculpture done in Montmartre. At first sight her hospitality seems unreasonable, but when one thinks one sees that it conforms to the rules of all hospitality. There must be a principle of selection, and were the _rates_ she entertained less amusing than the people one meets in Grosvenor Square or the Champs Elysees? Any friend could introduce another, that is common practice, but at Ninon's there was a restriction which I never met elsewhere--no friend could bring another unless the newcomer was a _rate_--in other words, unless he had written music or verse, or painted or carved, in a way that did not appeal to the taste of the ordinary public; inability to reach the taste of the general public was the criterion that obtained there.

The windows of Ninon's boudoir opened upon the garden, and on my expressing surprise at its size and at the large trees that grew there, she gave me permission to admire and investigate; and I walked about the pond, interested in the numerous ducks, in the cats, in the companies of macaws and c.o.c.katoos that climbed down from their perches and strutted across the swards. I came upon a badger and her brood, and at my approach they disappeared into an enormous excavation, and behind the summer-house I happened upon a bear asleep and retreated hurriedly. But on going towards the house I heard a well-known voice.

"That is Augusta Holmes singing her opera," I said; "she sings all the different parts--soprano, contralto, tenor, and ba.s.s." At this time we were all talking about her, and I stood by the window listening until suddenly a well-known smell interrupted her. It was Ninon's cat that had misconducted herself. A window was thrown open, but the ventilation did not prove sufficient. Augusta and her admirers had to leave the piano, and they came from the house glad to breathe the evening air. How dear to me are flowered gowns and evening skies and women with scarfs about their shoulders. Ah! what a beautiful evening it was! And how well do I remember the poet comparing the darkening sky to a blue veil with the moon like a gold beetle upon it. One of the women had brought a guitar with her, and again Augusta's voice streamed up through the stillness, till, compelled by the beauty of the singing, we drew nearer; as the composer sang her songs att.i.tudes grew more abandoned, and hands fell pensively. Among the half-seen faces I caught sight of a woman of exceeding fairness; her hair had only a faint tinge of gold in it; and Ninon remembered that she was a cousin of hers, one whom she had not seen for many years. How Clare had discovered her in the Rue la Moine she could not tell. It was whispered that she was the wife of a rich _commercant_ at Tours.

This added to the mystery, and later in the evening the lady told me she had never been in artistic society before, and begged me to point out to her the celebrities present, and to tell her why they were celebrated.