Crome Yellow Part 9

Mr. Scogan did not respond; he only repeated the question, "Well?"

It was left for Henry Wimbush to make a p.r.o.nouncement. "A very agreeable adjunct to the week-end," he said. His tone was obituary.

They had descended, without paying much attention where they were going, the steep yew-walk that went down, under the flank of the terrace, to the pool. The house towered above them, immensely tall, with the whole height of the built-up terrace added to its own seventy feet of brick facade. The perpendicular lines of the three towers soared up, uninterrupted, enhancing the impression of height until it became overwhelming. They paused at the edge of the pool to look back.

"The man who built this house knew his business," said Denis. "He was an architect."

"Was he?" said Henry Wimbush reflectively. "I doubt it. The builder of this house was Sir Ferdinando Lapith, who flourished during the reign of Elizabeth. He inherited the estate from his father, to whom it had been granted at the time of the dissolution of the monasteries; for Crome was originally a cloister of monks and this swimming-pool their fish-pond.

Sir Ferdinando was not content merely to adapt the old monastic buildings to his own purposes; but using them as a stone quarry for his barns and byres and outhouses, he built for himself a grand new house of brick--the house you see now."

He waved his hand in the direction of the house and was silent, severe, imposing, almost menacing, Crome loomed down on them.

"The great thing about Crome," said Mr. Scogan, seizing the opportunity to speak, "is the fact that it's so unmistakably and aggressively a work of art. It makes no compromise with nature, but affronts it and rebels against it. It has no likeness to Sh.e.l.ley's tower, in the 'Epipsychidion,' which, if I remember rightly--

"'Seems not now a work of human art, But as it were t.i.tanic, in the heart Of earth having a.s.sumed its form and grown Out of the mountain, from the living stone, Lifting itself in caverns light and high.'

"No, no, there isn't any nonsense of that sort about Crome. That the hovels of the peasantry should look as though they had grown out of the earth, to which their inmates are attached, is right, no doubt, and suitable. But the house of an intelligent, civilised, and sophisticated man should never seem to have sprouted from the clods. It should rather be an expression of his grand unnatural remoteness from the cloddish life. Since the days of William Morris that's a fact which we in England have been unable to comprehend. Civilised and sophisticated men have solemnly played at being peasants. Hence quaintness, arts and crafts, cottage architecture, and all the rest of it. In the suburbs of our cities you may see, reduplicated in endless rows, studiedly quaint imitations and adaptations of the village hovel. Poverty, ignorance, and a limited range of materials produced the hovel, which possesses undoubtedly, in suitable surroundings, its own 'as it were t.i.tanic'

charm. We now employ our wealth, our technical knowledge, our rich variety of materials for the purpose of building millions of imitation hovels in totally unsuitable surroundings. Could imbecility go further?"

Henry Wimbush took up the thread of his interrupted discourse. "All that you say, my dear Scogan," he began, "is certainly very just, very true.

But whether Sir Ferdinando shared your views about architecture or if, indeed, he had any views about architecture at all, I very much doubt.

In building this house, Sir Ferdinando was, as a matter of fact, preoccupied by only one thought--the proper placing of his privies.

Sanitation was the one great interest of his life. In 1573 he even published, on this subject, a little book--now extremely scarce--called, 'Certaine Priuy Counsels' by 'One of Her Maiestie's Most Honourable Priuy Counsels, F.L. Knight', in which the whole matter is treated with great learning and elegance. His guiding principle in arranging the sanitation of a house was to secure that the greatest possible distance should separate the privy from the sewage arrangements. Hence it followed inevitably that the privies were to be placed at the top of the house, being connected by vertical shafts with pits or channels in the ground. It must not be thought that Sir Ferdinando was moved only by material and merely sanitary considerations; for the placing of his privies in an exalted position he had also certain excellent spiritual reasons. For, he argues in the third chapter of his 'Priuy Counsels', the necessities of nature are so base and brutish that in obeying them we are apt to forget that we are the n.o.blest creatures of the universe.

To counteract these degrading effects he advised that the privy should be in every house the room nearest to heaven, that it should be well provided with windows commanding an extensive and n.o.ble prospect, and that the walls of the chamber should be lined with bookshelves containing all the ripest products of human wisdom, such as the Proverbs of Solomon, Boethius's 'Consolations of Philosophy', the apophthegms of Epictetus and Marcus Aurelius, the 'Enchiridion' of Erasmus, and all other works, ancient or modern, which testify to the n.o.bility of the human soul. In Crome he was able to put his theories into practice. At the top of each of the three projecting towers he placed a privy. From these a shaft went down the whole height of the house, that is to say, more than seventy feet, through the cellars, and into a series of conduits provided with flowing water tunnelled in the ground on a level with the base of the raised terrace. These conduits emptied themselves into the stream several hundred yards below the fish-pond. The total depth of the shafts from the top of the towers to their subterranean conduits was a hundred and two feet. The eighteenth century, with its pa.s.sion for modernisation, swept away these monuments of sanitary ingenuity. Were it not for tradition and the explicit account of them left by Sir Ferdinando, we should be unaware that these n.o.ble privies had ever existed. We should even suppose that Sir Ferdinando built his house after this strange and splendid model for merely aesthetic reasons."

The contemplation of the glories of the past always evoked in Henry Wimbush a certain enthusiasm. Under the grey bowler his face worked and glowed as he spoke. The thought of these vanished privies moved him profoundly. He ceased to speak; the light gradually died out of his face, and it became once more the replica of the grave, polite hat which shaded it. There was a long silence; the same gently melancholy thoughts seemed to possess the mind of each of them. Permanence, transience--Sir Ferdinando and his privies were gone, Crome still stood. How brightly the sun shone and how inevitable was death! The ways of G.o.d were strange; the ways of man were stranger still...

"It does one's heart good," exclaimed Mr. Scogan at last, "to hear of these fantastic English aristocrats. To have a theory about privies and to build an immense and splendid house in order to put it into practise--it's magnificent, beautiful! I like to think of them all: the eccentric milords rolling across Europe in ponderous carriages, bound on extraordinary errands. One is going to Venice to buy La Bianchi's larynx; he won't get it till she's dead, of course, but no matter; he's prepared to wait; he has a collection, pickled in gla.s.s bottles, of the throats of famous opera singers. And the instruments of renowned virtuosi--he goes in for them too; he will try to bribe Paganini to part with his little Guarnerio, but he has small hope of success. Paganini won't sell his fiddle; but perhaps he might sacrifice one of his guitars. Others are bound on crusades--one to die miserably among the savage Greeks, another, in his white top hat, to lead Italians against their oppressors. Others have no business at all; they are just giving their oddity a continental airing. At home they cultivate themselves at leisure and with greater elaboration. Beckford builds towers, Portland digs holes in the ground, Cavendish, the millionaire, lives in a stable, eats nothing but mutton, and amuses himself--oh, solely for his private delectation--by antic.i.p.ating the electrical discoveries of half a century. Glorious eccentrics! Every age is enlivened by their presence.

Some day, my dear Denis," said Mr Scogan, turning a beady bright regard in his direction--"some day you must become their biographer--'The Lives of Queer Men.' What a subject! I should like to undertake it myself."

Mr. Scogan paused, looked up once more at the towering house, then murmured the word "Eccentricity," two or three times.

"Eccentricity...It's the justification of all aristocracies. It justifies leisured cla.s.ses and inherited wealth and privilege and endowments and all the other injustices of that sort. If you're to do anything reasonable in this world, you must have a cla.s.s of people who are secure, safe from public opinion, safe from poverty, leisured, not compelled to waste their time in the imbecile routines that go by the name of Honest Work. You must have a cla.s.s of which the members can think and, within the obvious limits, do what they please. You must have a cla.s.s in which people who have eccentricities can indulge them and in which eccentricity in general will be tolerated and understood. That's the important thing about an aristocracy. Not only is it eccentric itself--often grandiosely so; it also tolerates and even encourages eccentricity in others. The eccentricities of the artist and the new-fangled thinker don't inspire it with that fear, loathing, and disgust which the burgesses instinctively feel towards them. It is a sort of Red Indian Reservation planted in the midst of a vast horde of Poor Whites--colonials at that. Within its boundaries wild men disport themselves--often, it must be admitted, a little grossly, a little too flamboyantly; and when kindred spirits are born outside the pale it offers them some sort of refuge from the hatred which the Poor Whites, en bons bourgeois, lavish on anything that is wild or out of the ordinary. After the social revolution there will be no Reservations; the Redskins will be drowned in the great sea of Poor Whites. What then?

Will they suffer you to go on writing villanelles, my good Denis? Will you, unhappy Henry, be allowed to live in this house of the splendid privies, to continue your quiet delving in the mines of futile knowledge? Will Anne..."

"And you," said Anne, interrupting him, "will you be allowed to go on talking?"

"You may rest a.s.sured," Mr. Scogan replied, "that I shall not. I shall have some Honest Work to do."

CHAPTER XII.

"Blight, Mildew, and s.m.u.t..." Mary was puzzled and distressed. Perhaps her ears had played her false. Perhaps what he had really said was, "Squire, Binyon, and Shanks," or "Childe, Blunden, and Earp," or even "Abercrombie, Drinkwater, and Rabindranath Tagore." Perhaps. But then her ears never did play her false. "Blight, Mildew, and s.m.u.t." The impression was distinct and ineffaceable. "Blight, Mildew..." she was forced to the conclusion, reluctantly, that Denis had indeed p.r.o.nounced those improbable words. He had deliberately repelled her attempts to open a serious discussion. That was horrible. A man who would not talk seriously to a woman just because she was a woman--oh, impossible!

Egeria or nothing. Perhaps Gombauld would be more satisfactory. True, his meridional heredity was a little disquieting; but at least he was a serious worker, and it was with his work that she would a.s.sociate herself. And Denis? After all, what WAS Denis? A dilettante, an amateur...

Gombauld had annexed for his painting-room a little disused granary that stood by itself in a green close beyond the farm-yard. It was a square brick building with a peaked roof and little windows set high up in each of its walls. A ladder of four rungs led up to the door; for the granary was perched above the ground, and out of reach of the rats, on four ma.s.sive toadstools of grey stone. Within, there lingered a faint smell of dust and cobwebs; and the narrow shaft of sunlight that came slanting in at every hour of the day through one of the little windows was always alive with silvery motes. Here Gombauld worked, with a kind of concentrated ferocity, during six or seven hours of each day. He was pursuing something new, something terrific, if only he could catch it.

During the last eight years, nearly half of which had been spent in the process of winning the war, he had worked his way industriously through cubism. Now he had come out on the other side. He had begun by painting a formalised nature; then, little by little, he had risen from nature into the world of pure form, till in the end he was painting nothing but his own thoughts, externalised in the abstract geometrical forms of the mind's devising. He found the process arduous and exhilarating. And then, quite suddenly, he grew dissatisfied; he felt himself cramped and confined within intolerably narrow limitations. He was humiliated to find how few and crude and uninteresting were the forms he could invent; the inventions of nature were without number, inconceivably subtle and elaborate. He had done with cubism. He was out on the other side. But the cubist discipline preserved him from falling into excesses of nature wors.h.i.+p. He took from nature its rich, subtle, elaborate forms, but his aim was always to work them into a whole that should have the thrilling simplicity and formality of an idea; to combine prodigious realism with prodigious simplification. Memories of Caravaggio's portentous achievements haunted him. Forms of a breathing, living reality emerged from darkness, built themselves up into compositions as luminously simple and single as a mathematical idea. He thought of the "Call of Matthew," of "Peter Crucified," of the "Lute players," of "Magdalen."

He had the secret, that astonis.h.i.+ng ruffian, he had the secret! And now Gombauld was after it, in hot pursuit. Yes, it would be something terrific, if only he could catch it.

For a long time an idea had been stirring and spreading, yeastily, in his mind. He had made a portfolio full of studies, he had drawn a cartoon; and now the idea was taking shape on canvas. A man fallen from a horse. The huge animal, a gaunt white cart-horse, filled the upper half of the picture with its great body. Its head, lowered towards the ground, was in shadow; the immense bony body was what arrested the eye, the body and the legs, which came down on either side of the picture like the pillars of an arch. On the ground, between the legs of the towering beast, lay the foreshortened figure of a man, the head in the extreme foreground, the arms flung wide to right and left. A white, relentless light poured down from a point in the right foreground. The beast, the fallen man, were sharply illuminated; round them, beyond and behind them, was the night. They were alone in the darkness, a universe in themselves. The horse's body filled the upper part of the picture; the legs, the great hoofs, frozen to stillness in the midst of their trampling, limited it on either side. And beneath lay the man, his foreshortened face at the focal point in the centre, his arms outstretched towards the sides of the picture. Under the arch of the horse's belly, between his legs, the eye looked through into an intense darkness; below, the s.p.a.ce was closed in by the figure of the prostrate man. A central gulf of darkness surrounded by luminous forms...

The picture was more than half finished. Gombauld had been at work all the morning on the figure of the man, and now he was taking a rest--the time to smoke a cigarette. Tilting back his chair till it touched the wall, he looked thoughtfully at his canvas. He was pleased, and at the same time he was desolated. In itself, the thing was good; he knew it. But that something he was after, that something that would be so terrific if only he could catch it--had he caught it? Would he ever catch it?

Three little taps--rat, tat, tat! Surprised, Gombauld turned his eyes towards the door. n.o.body ever disturbed him while he was at work; it was one of the unwritten laws. "Come in!" he called. The door, which was ajar, swung open, revealing, from the waist upwards, the form of Mary.

She had only dared to mount half-way up the ladder. If he didn't want her, retreat would be easier and more dignified than if she climbed to the top.

"May I come in?" she asked.

"Certainly."

She skipped up the remaining two rungs and was over the threshold in an instant. "A letter came for you by the second post," she said. "I thought it might be important, so I brought it out to you." Her eyes, her childish face were luminously candid as she handed him the letter.

There had never been a flimsier pretext.

Gombauld looked at the envelope and put it in his pocket unopened.

"Luckily," he said, "it isn't at all important. Thanks very much all the same."

There was a silence; Mary felt a little uncomfortable. "May I have a look at what you've been painting?" she had the courage to say at last.

Gombauld had only half smoked his cigarette; in any case he wouldn't begin work again till he had finished. He would give her the five minutes that separated him from the bitter end. "This is the best place to see it from," he said.

Mary looked at the picture for some time without saying anything.

Indeed, she didn't know what to say; she was taken aback, she was at a loss. She had expected a cubist masterpiece, and here was a picture of a man and a horse, not only recognisable as such, but even aggressively in drawing. Trompe-l'oeil--there was no other word to describe the delineation of that foreshortened figure under the trampling feet of the horse. What was she to think, what was she to say? Her orientations were gone. One could admire representationalism in the Old Masters.

Obviously. But in a modern...? At eighteen she might have done so.

But now, after five years of schooling among the best judges, her instinctive reaction to a contemporary piece of representation was contempt--an outburst of laughing disparagement. What could Gombauld be up to? She had felt so safe in admiring his work before. But now--she didn't know what to think. It was very difficult, very difficult.

"There's rather a lot of chiaroscuro, isn't there?" she ventured at last, and inwardly congratulated herself on having found a critical formula so gentle and at the same time so penetrating.

"There is," Gombauld agreed.

Mary was pleased; he accepted her criticism; it was a serious discussion. She put her head on one side and screwed up her eyes.

"I think it's awfully fine," she said. "But of course it's a little too...too...trompe-l'oeil for my taste." She looked at Gombauld, who made no response, but continued to smoke, gazing meditatively all the time at his picture. Mary went on gaspingly. "When I was in Paris this spring I saw a lot of Tschuplitski. I admire his work so tremendously.

Of course, it's frightfully abstract now--frightfully abstract and frightfully intellectual. He just throws a few oblongs on to his canvas--quite flat, you know, and painted in pure primary colours. But his design is wonderful. He's getting more and more abstract every day.

He'd given up the third dimension when I was there and was just thinking of giving up the second. Soon, he says, there'll be just the blank canvas. That's the logical conclusion. Complete abstraction. Painting's finished; he's finis.h.i.+ng it. When he's reached pure abstraction he's going to take up architecture. He says it's more intellectual than painting. Do you agree?" she asked, with a final gasp.

Gombauld dropped his cigarette end and trod on it. "Tschuplitski's finished painting," he said. "I've finished my cigarette. But I'm going on painting." And, advancing towards her, he put his arm round her shoulders and turned her round, away from the picture.

Mary looked up at him; her hair swung back, a soundless bell of gold.

Her eyes were serene; she smiled. So the moment had come. His arm was round her. He moved slowly, almost imperceptibly, and she moved with him. It was a peripatetic embracement. "Do you agree with him?" she repeated. The moment might have come, but she would not cease to be intellectual, serious.

"I don't know. I shall have to think about it." Gombauld loosened his embrace, his hand dropped from her shoulder. "Be careful going down the ladder," he added solicitously.

Mary looked round, startled. They were in front of the open door. She remained standing there for a moment in bewilderment. The hand that had rested on her shoulder made itself felt lower down her back; it administered three or four kindly little smacks. Replying automatically to its stimulus, she moved forward.

"Be careful going down the ladder," said Gombauld once more.

She was careful. The door closed behind her and she was alone in the little green close. She walked slowly back through the farmyard; she was pensive.