Chapter IV (3)

And with her mother's death it seemed as if her own dream-life had come suddenly to an end, and a new, more desolate, more practical life had begun, out of which she could not look any great distance. After the black darkness of those first few days; the coming of the undertakers, the hammering down of the coffin, the slow drive to the graveside, the wreath of white flowers which she shed, white flower by white flower, upon the shining case of wood lying at the bottom of a great pit, in which her mother was to be covered up to stay there for ever; after those first days of merely dull misery, broken by a few wild outbursts of tears, she accepted this new life into which she had come, as she accepted the black clothes which Linda the servant, now more a friend than ever, had had made for her. Her father could no longer bear to sleep in the room in which his wife had died, so Lucy gave up her own room to him, and moved into the room that had been her mother's; and it seemed to bring her closer to her mother to sleep there. She thought of her mother very often, and very sadly, but the remembrance of those almost last words to her, those solemn words on her twelfth birthday, that she was to look after her father as her mother had looked after him, and never let him want for anything, helped her to meet every day bravely, because every day brought some definite thing for her to do. She felt years and years older, and quietly ready for whatever was now likely to happen.

For a little while she saw more of her father, for they had their mid-day meal together now, and she used to come and sit at the table when he was having his nine o'clock meat supper, with which he had always indulged himself, even when there was very little in the house for the others. He still took it, and his claret with it, which the doctor had ordered him to take; but he took it with scantier and scantier appetite; talking less over his wine, and falling into a strange and brooding listlessness. During his wife's illness he had let his affairs drift; and the society of which he was the secretary had overlooked it, as far as they could, on account of his trouble. But now he attended to his duties less than ever; and he was reminded, a little sharply, that things could not go on like this much longer. He took no heed of the warning, though the duns were beginning to gather about him. When there was a ring at the door, Lucy used to squeeze up against the window to see who it was; and if it was one of those troublesome people whom she soon got to know by sight, she would go to the door herself, and tell them that they could not see her father, and explain to them, in her grave, childish way, that it was no use coming to her father for money, because he had no money just then but he would have some at quarter-day, and they might call again then. Sometimes the men tried to push past her into the hall, but she would never let them; her father was not in, or he was very unwell, and no one could see him; and she spoke so calmly and so decidedly that they always finished by going away. If they swore at her, or said horrid things about her father, she did not mind much. It did not surprise her that such dreadful people used dreadful language.

In telling the duns that her father was very unwell, she was not always inventing. For a long time there had been something vaguely the matter with him, and ever since her mother's death he had sickened visibly, and nothing would rouse him from his pale and cheerless decrepitude. He would lie in bed till four, and then come downstairs and sit by the fireplace, smoking his pipe in silence, doing nothing, neither reading, nor writing, nor sketching. All his interest in life seemed to have gone out together; his very hopes had been taken from him, and without those fantastic hopes he was but the shadow of himself. It scarcely roused him when the directors of his society wrote to him that they would require his services no longer. When they sent a man to unscrew the brass plate on the door, on which there were the name of the society and the amount of its capital, he went outside and stood in the garden while it was being done. Then he gave the man a shilling for his trouble.

Soon after that, he refused to eat or get up, and a great terror came over Lucy lest he, too, should die; and now there was no money in the house, and the duns still knocked at the door. She begged him to let her write to his relations, but he refused flatly, saying that they would not receive her mother, and he would never see them, or take a penny of their money as long as he lived. One day a cab drove up to the door, and a hard-featured woman got out of it. Lucy, looking out of the bedroom window, recognised her aunt, Miss Marsden, her mother's eldest sister, whom she had only seen at the funeral, and to whose grim face and rigid figure she had already taken a dislike. It appeared that Linda, unknown to them, had written to tell her into what desperate straits they had fallen; and her severe sense of duty had brought her to their help.

And the aunt was certainly good to them in her stern, unkindly way. The first thing she did was to send for a doctor, who shook his head very gravely when he had examined the patient; and spoke of foreign travel, and other impossible, expensive remedies. That was the first time that Lucy ever began to long for money, or to realise exactly what money meant. It might mean life or death, she saw now.

Her father now lay mostly in bed, very weak and quiet, and mostly in silence; and whether his eyes were closed or open, he seemed to be thinking, always thinking. He liked Lucy to come and sit by him; but if she chattered much he would stop her, after a while, and say that he was tired, and she must be quiet. And then sometimes he would talk to her, in his vague, disconnected way, about her mother, and of how they had met, and had found hard times together a great happiness; and he would look at her with an almost impersonal scrutiny, and say: 'I think you will live happily, not with the happiness that we had, for you will never love as we loved, but you will find it easy to like people, and many people will find it easy to like you; and if you have troubles they will weigh on you lightly, for you will live always in the day, that is, without too much memory of the day that was, or too much thought of the day that will be to-morrow.' And once he said: 'I hardly know why it is I feel so little anxiety about your future. I seem somehow to know that you will always find people to look after you. I don't know why they should, I don't know why they should.' And then he added, after a pause, looking at her a little sadly, 'You will never love nor be loved passionately, but you have a face that will seem to many, the first time they see you, like the face of an old and dear friend.'

Sometimes, when he felt a little better, the sick man would come downstairs, and at times he would walk about in the garden, stooping under his great-coat and leaning upon his stick. One very bright day in early February he seemed better than he had been since his illness had come upon him, and as he stood at the window looking at the white road shining under the pale sun, he said suddenly: 'I feel quite well to-day, I shall go for a little walk.' His eyes were bright, there was a slight flush on his cheek, and he seemed to move a little more easily than usual. 'Lucy,' he said, 'I think I should like some claret with my supper to-night, like old times. You must go into the town and get me some: I suppose there is none in the house.' Lucy took the money gladly, for she thought: 'He is beginning to be better.' 'Get it from Allen's,' he called after her, as she went to put on her hat and jacket; 'it won't take so very much longer to go there and back, and it will be better there.' When she came downstairs her aunt was helping him to put on his coat. 'Don't wait for me,' he said, smiling, and tapping her cheek with his thin, chilly fingers; 'I shall have to walk slowly.' She went out, and turning, as she came to the bend in the road, saw him come out of the gate, leaning on his stick, and begin to walk slowly along in the middle of the road. He did not look up, and she hurried on.

It was the last time she ever saw him. The house, when she returned to it, after her journey into town, had an air of ominous quiet, and she saw with surprise that her father's hat and coat were lying in a heap across the chair in the hall, instead of hanging neatly upon the hat-pegs. As she closed the door behind her, she heard the bedroom door opened, and her aunt came quickly downstairs with a strange look on her face. She began to tremble, she knew not why, and mechanically she put the bottle of wine on the floor by the side of the chair; and her aunt, though she would always have everything put in its proper place, did not seem to notice it; but took her into the sitting-room, and said: 'There has been an accident; no, you must not go upstairs'; and she said to herself, seeming to hear her own words at the back of her brain, where there was a dull ache that was like the coming-to of one who has been stunned: 'He is dead, he is dead.' She felt that her aunt was shaking her, and wondered why she shook her, and why everything looked so dim, and her aunt's face seemed to be fading away from her, and she caught at her; and then she heard her aunt say (she could hear her now), 'I thought you were going to faint: I'll have no fainting, if you please; I must go up to him again.' So he was not dead, after all; and she listened, with a relief which was almost joy, while her aunt told her rapidly what had happened: how the mail-cart had turned a corner at full speed just as he was walking along the road, more tired than he had thought, and he had not the strength to pull himself out of the way in time, and had been knocked down, and the wheel had just missed him, but he had been terribly shaken, and one of the horse's hoofs had struck him on the face. They hoped it was nothing serious; he seemed to feel little pain; but he had said: 'Don't let Lucy come in; she musn't see me like this.'

Lucy had been so used to obey her father, his commands had always been so capricious, that she obeyed now without a murmur. She understood him; the fastidiousness which was part of his affection, and which made him refuse to be seen, by those he loved, under a disfigurement which time would probably heal, was one of the things for which she loved him, for it was part of her pride in him.

The doctor had come and gone; he had been very serious, she had seen his grave face, and had overheard one or two of his words to her aunt; she had heard him say: 'Of course, it is a question of time.' Night came on, and she sat in the unlighted room alone, and looking into the fire, in which the last dreams of her childhood seemed to flicker in little wavering tongues of flame, which throbbed, and went out, one after another, in smoke or ashes. She cried a little, quietly, and did not wipe away the tears; but sat on, looking into the fire, and thinking. She was crying when her aunt came downstairs, and told her that she must go to bed; he was resting quietly, and they hoped he would be better in the morning.

She slept heavily, without dreams; and the hour seemed to her late when she awoke in the morning. It was Linda, not her aunt, who came into the room, and took her in her arms, and cried over her, and did not need to tell her that she had no father. He had died suddenly in his sleep, and just before he turned over on his side for the last rest, he had said to her (she thought drowsily): 'I am very tired; if anything happens, cover my face.' When Lucy crept into the room, on tip-toe, his face was covered. It was a white, shrouded thing that lay there, not her father. The terror of the dead seized hold upon her, and she shrieked, and Linda caught her up in her arms, and carried her back to her room, and soothed her, as if she had been a little, wailing child.

At the funeral she saw, for the first time, her father's relations, the rich relations who had cast him off; and she hated them for being there, for speaking to her kindly, for offering to look after her. She was rude to them, and she wished to be rude. 'My father would never touch your money,' she said, 'and I am sure he wouldn't like me to, and I don't want it. I don't want to have anything to do with you.' She clung to the severe aunt who had been good to her father; and she tried to smile on her other uncle and aunt, and on her cousin, who was not many years older than she was: he had seemed to her so kind, and so ready to be her friend. 'I will go with my aunt,' she said. The rich relatives acquiesced, not unwillingly. They did not linger in the desolate house, where this unreasonable child, as they thought her, stood away from them on the other side of the room. She seemed to herself to be doing the right thing, and what her father would have wished; and she saw them go out with relief, not giving a thought to the future, only knowing that she had buried her childhood, on that day of the funeral, in the grave with her father.

THE DEATH OF PETER WAYDELIN.

Peter Waydelin, the painter of those mysterious, brutal pictures, who died last year at the age of twenty-four, spent a week with me at Bognor, trying to get better, a little while before it was quite certainly too late; and we had long talks of a very intimate kind as we lay and lounged about the sand from Selsey to Blake's Felpham, along that exquisite coast. To him, if he were to be believed, all that meant very little; he hated nature, he was always assuring you; but at Bognor nature deals with its material so much in the manner of art that he can hardly have been sincere in not feeling the colour-sense of those arrangements of sand, water, and sky which were perpetually changing before him. One of our conversations that I remembered best, because he seemed to put more of himself into it than usual, took place one afternoon in June as we lay on the sand about half-way towards Selsey, beyond the last of those troublesome groins, and I remember that as I listened to him, and heard him defining so sincerely his own ideas of art, I was conscious all the time of a magnificent silent refutation of some of those ideas, as nature, quietly expressing herself before us, transformed the whole earth gradually into a new and luminous world of air. He did not seem to see the sunset; now and then he would pick up a pebble and throw it vehemently, almost angrily, into the water. We were talking of art. He began to explain to me what art meant to him, and what it was he wanted to do with his own art. I remember almost the very words he used, sometimes so serious, sometimes so petulant and boyish. I was interested in his ideas, and the man too interested me; so young and so experienced, so mature already and so enthusiastic under his cynicism. He puzzled me: it was as if there were a clue wanting; I could not get further with him than a certain point, frank, self-explanatory even, as he seemed to be. Of himself he never spoke, only of his ideas. I knew vaguely that he had been in Paris, and I supposed that he had been living there for some time. I had met him in London, in the street, quite casually, and he had looked so ill that I had asked him there and then to come with me to Bognor, where I was going. He agreed willingly, and was at the station with his bag the next day. I never ask people about their private affairs, and his talk was entirely about pictures, his own chiefly, and about ideas. As he talked I tried to piece together the man and his words. What was it in this man, who was so much a gentleman, that drew him instinctively, whenever he took up a brush or a pencil, towards gross things, things that he painted as if he hated them, but painted always? Was it a theory or an enslavement? and had he, in order to interpret with so cruel a fidelity so much that was factitious and dishonourable in life, sunk to the level of what he painted? I could not tell. He was not obviously the man of his pictures, nor was he obviously the reverse. I felt in those pictures, and I felt equally, but differently, in the man, a fundamental sincerity; after that came I know not how much of pose, perhaps merely the defiant pose of youth. He was a problem to me, which I wanted to think out; and I listened very attentively to everything that he said on that afternoon when he was so much more communicative than usual.

'All art, of course,' he said, 'is a way of seeing, and I have my way. I did not get to it at once. Like everybody else, I began by seeing too much. Gradually I gave up seeing things in shades, in subdivisions; I saw them in masses, each single. It takes more choice than you think, and more technical skill, to set one plain colour against another, unshaded, like a great, raw morsel, or a solid lump of the earth. The art of the painter, you observe, consists in seeing in a new, summarising way, getting rid of everything but the essentials; in seeing by patterns. You know how a child draws a house? Well, that is how the average man thinks he sees it, even at a distance. You have to train your eye not to see. Whistler sees nothing but the fine shades, which unite into a picture in an almost bodiless way, as Verlaine writes songs almost literally "without words." You can see, if you like, in just the opposite way: leaving in only the hard outlines, leaving out everything that lies between. To me that is the best way of summarising, the most abbreviated way. You get rid of all that molle, sticky way of work which squashes pictures into cakes and puddings, and of that stringy way of work which draws them out into tapes and ribbons. It is a way of seeing square, and painting like hits from the shoulder.

'I wonder,' he went on, after a moment, 'how many people think that I paint ugly pictures, as they call them, because I am unable to paint pretty ones? Perhaps even you have never seen any of my quite early work: Madonnas for Christmas cards and hallelujah angels for stained-glass windows. They were the prettiest things imaginable, immensely popular, and they brought me in several pounds. I take them out and show them to people who complain that I have no sense of beauty, and they always ask me pityingly why I have not gone on turning out these confectionaries.'

'I contend that I have never done anything which is without beauty, because I have never done anything which is without life, and life is the source and sap of beauty. I tell you that there is not one of those grimacing masks, those horribly pale or horribly red faces, plastered white or red, leering professionally across a gulf of footlights, or a cafe-table, that does not live, live to the roots of the eyes, somewhere in the soul, I think! And if beauty is not the visible spirit of all that infamous flesh, when I have sabred it like that along my canvas, with all my hatred and all my admiration of its foolish energy, I at least am unable to conjecture where beauty has gone to live in the world.'

He looked at me almost indignantly, as if he took me for one of his critics. I said nothing, and he went on:

'I have done nothing, believe me, without being sure that I was doing a beautiful thing. People don't see it, it seems. How should they, when we do our best to train them up within the prison walls of a Raphael aesthetics, when we send them to the Apollo Belvedere, instead of to the marbles of AEgina? Our academies shut out nine parts of beauty and imprison us with the poor tenth, which we have never even the space to frequent casually and grow familiar with. How much of the world itself do you think exists as a thing of beauty for the average man? Why, he has to know if the most exquisite leaf in the world, the thing I came upon just now in the lane, belongs to a flower or a weed before he can tell whether he ought to commend it for existing. I hate nature, because fools prostrate themselves before sunsets; as if there is not much better drawing in that leaf than in all the Turners of the sky. You see, one has to quote Turner to apologise for a sunset!'

He laughed, really without malice, waving his hand towards the sky with a youthful impertinence. For a little while he was silent, and then, in a different tone, he said:

'I wonder if it is possible to paint what one doesn't like, to take one's models as models, and only know them for the hours during which they sit to you in this attitude or that. I don't believe that it is. Much of our bad painting comes from respectable people thinking that they can soil their hands with paint and not let the dye sink into their innermost selves. Do you know that you are the only man of my own world that I ever see, or have seen for years now? People call me eccentric; I am only logical. You can't paint the things I paint, and live in a Hampstead villa. You must come and see me some day: will you take the address? 3 Somervell Street, Islington. It's not much like a studio. However, there's "Collins's" at hand, and I live there a good deal, you know. I lived in the Hampstead Road for some time on account of the "Bedford." But "Collins's" suits me and my models better.'

He broke off with an ambiguous laugh, flung his last stone into the water, and jumped up, as if to end the conversation. Something in the way he spoke made me feel vaguely uneasy, but I was used to his exaggerations, his way of inventing as he went along. Was I, after all, any nearer to his secret, to himself as he really was?

Waydelin went back to London and I to Russia, which I shall always remember, after that terrible summer under the gold and green domes of Moscow, as the hottest country in which I have ever been. When I came back to London I thought of Waydelin, made plan after plan to visit him, when one evening in November I received a brief note in his handwriting, asking me if I would come and see him at once, as he was very ill, and wanted to see me on a matter of business. I started immediately after dinner and got to Islington a little after nine. The street was one of those drab, hopeless streets to which a Russian observer has lately attributed the 'spleen' from which all Englishmen are thought to suffer. There was a row of houses on each side of the way, every house exactly like every other house, each with its three steps leading to the door, its bow window on one side, its strip of dingy earth in which there were a few dusty stalks between the lowest step and the railing, the paint for the most part peeling off the door, the bell-handle generally hanging out from its hole in the wall. I rang at No. 3. I had to wait for some time, and then the door was opened by an impudent-looking servant girl in a very untidy dress. I asked for Waydelin. 'Mrs. Waydelin, did you say?' said the girl, leering at me; then, calling over my head to the driver of a four-wheeler which just then drew up at the door, 'Wait five minutes, will you?' she turned to me again: 'Mr. Waydelin? I don't know if you can see him.' I told her impatiently that I had come by appointment, and she held the door open for me to come in. She knocked at a room on the first floor. 'Come in,' said a shrill voice that I did not know, and I went in.

It was a bedroom; a woman, with her bodice off, was making-up in front of the glass, and in a corner, with the clothes drawn up to his chin, a man lay in bed. The cheeks were covered by a three days' beard; they were ridged into deep hollows; large eyes, very wide open, looked out under a mass of uncombed hair, and as the face turned round on the pillow and looked at me without any change of expression I recognised Peter Waydelin. The woman, seeing me in the glass, nodded at my reflection, and said, as she drew a black pencil through her eyelashes: 'You'll excuse me, won't you? I have to be at the hall in ten minutes. Don't stand on ceremony; there's Peter. He'll be glad to see you, poor dear!' She spoke in a common and affected voice, and I thought her a deplorable person, with her carefully curled yellow hair, her rouged and powdered cheeks, her mouth glistening with lip salve, her big, empty blue eyes with their blackened under-lids, her fat arms and shoulders, the tawdry finery of her costume, half on and half off the body. I moved towards the bed, and Waydelin looked up at me with a queer, mournful smile.

'It was good of you to come,' he said, stretching out a long, thin hand to me; 'Clara has to go out, and we can have a talk. How do you like the last thing I've done?'

I lifted the drawing which was lying on the bed. It was a portrait of the woman before the glass, just as she looked now, one of the most powerful of his drawings, crueller even than usual in its insistence on the brutality of facts: the crude contrasts of bone and fat, the vulgar jaw, the brassy eyes, the reckless, conscious attitude. Every line seemed to have been drawn with hatred. I looked at Mrs. Waydelin. She had finished dressing, and she came up to the bedside to say good-bye to Peter. 'Horrid thing,' she said, nodding her head at the drawing; 'not a bit like me, is it? I assure you none of them like it at the hall. They say it doesn't do me justice. I'm sure I hope not.' I bowed and murmured something. 'Good-bye, Peter,' she said, smiling down at him in a kindly, hurried way, 'I'll come back as soon as I can,' and with a nod to me she was out of the room.

Peter drew himself slowly up in the bed, pointed to a shawl, which I wrapped round his shoulders, and then, looking at me a little defiantly, said: 'My theory, do you remember? of living the life of my models! She is a very nice woman and an excellent model, and they appreciate her very much at "Collins's"; but it appears that I have no gift for domesticity.'

I scarcely knew what to say. While I hesitated he went on: 'Don't suppose I have any illusions, or, indeed, ever had. I married that woman because I couldn't help doing it, but I knew what I was doing all the time. Have you ever been in Belgium? There is stuff they give you there to drink called Advokat, which you begin by hating, but after a time you can't get on without it. She is like Advokat.'

'You are ill, Waydelin,' I said, 'and you speak bitterly. I don't like to hear you speak like that about your wife.'

Waydelin stared at me curiously. 'So you are going to defend her against my brutality,' he said. 'I will give you every opportunity. Did you know I was married?'

I shook my head.

'I have been married three years,' he said, 'and I never told even you. I know you did not take me at my word when I talked about how one had to live in order to paint as I painted, but I did not tell you half. I have been living, if you like to call it so, systematically, not as a stranger in a foreign country which he stares at over his Baedeker, but as like a native as I could, and with no return ticket in my pocket. Why shouldn't one be as thorough in one's life as in one's drawing? Is it possible for one to be otherwise, if one is really in earnest in either? And the odd thing is, as you will say, I didn't live in that way because I wanted to do it for my art, but something deeper than my art, a profound, low instinct, drew me to these people, to this life, without my own will having anything to do with it. My work has been much more sincere than any one suspected. It used to amuse me when the papers classed me with the Decadents of a moment, and said that I was probably living in a suburban villa, with a creeper on the front wall. I have never cared for anything but London, or in London for anything but here, or the Hampstead Road, or about the Docks. I never really chose the music-halls or the public-houses; they chose me. I made the music-halls my clubs; I lived in them, for the mere delight of the thing; I liked the glitter, false, barbarous, intoxicating, the violent animality of the whole spectacle, with its imbecile words, faces, gestures, the very heat and odour, like some concentrated odour of the human crowd, the irritant music, the audience! I went there, as I went to public-houses, as I walked about the streets at night, as I kept company with vagabonds, because there was a craving in me that I could not quiet. I fitted in theories with my facts; and that is how I came to paint my pictures.'

As he spoke, with bitter ardour, I looked at him as if I were seeing him for the first time. The room, the woman, that angry drawing on the bed, and the dishevelled man dying there, just at the moment when he had learnt everything that such experiences could teach him, fell of a sudden into a revealing relation with each other. I did not know whether to feel that the man had been heroic or a fool; there had been, it was clear to me, some obscure martyrdom going on, not the less for art's sake because it came out of the mere necessity of things. A great pity came over me, and all I could say was, 'But, my dear friend, you have been very unhappy!'

'I never wanted to be happy,' said Waydelin; 'I wanted to live my own life and do my own work; and if I die to-morrow (as likely enough I may), I shall have done both things. My work satisfies me, and, because of that, so does my life.'

'Are you very ill?' I asked.

'Dead, relatively speaking,' he said in his jaunty way, which death itself could not check in him; 'I'm only waiting on some celestial order of precedence in these matters, which, I confess, I don't understand. So it was good of you to come; I would like to arrange with you about what is to be done with my work, presently, when they will have to accept me. I always said that I had only to die in order to be appreciated.'

I had a long talk with him, and I promised to carry out his wishes. All the money that his pictures brought in was to go to his wife, but, as he said, she would not know what to do with them if they were left in her own hands, not even how to turn them into money. He was quite certain that they would sell; he knew exactly the value of what he had done, and he knew how and when work finds its own level.

I sat beside the bed, talking, for more than two hours. He could no longer do much work, he said, and he hated being alone when he was not working. But it amused him to talk, for a change. 'Clara talks when she is here,' he said, with one of his queer smiles. I promised to come back and see him again. 'Come soon,' he said, 'if you want to be sure of finding me.'

I went back two days afterwards, a little later in the evening so that I need not meet Mrs. Waydelin, and he seemed better. He had shaved, his hair was brushed and combed, and he was sitting up in bed, with the shawl thrown lightly about his shoulders.

'Would you like to know,' he began, almost at once, 'how I came to paint in what we will call, if you please, my final manner? One day, at the theatre, I saw Sada Yacco. She taught me art.'

'What do you mean?' I said.

'Look here,' he went on, 'they say everything has been done in art. But no, there is at least one thing that remains for us. Have you ever seen Sada Yacco? When I saw her for the first time I said to myself, "I have found out the secret of Japanese art." I had never been able to understand how it was that the Japanese, who can imitate natural things, a bird, a flower, the rain, so perfectly, have chosen to give us, instead of a woman's face, that blind oval, in which the eyes, nose, and mouth seem to have been made to fit a pattern. When I saw Sada Yacco I realised that the Japanese painters had followed nature as closely in their woman's faces as in their birds and flowers, but that they had studied them from the women of the Green Houses, the women who make up, and that Japanese women, made up for the stage or for the factitious life of the Green Houses, look exactly like these elegant, unnatural images of the painters. What a new kind of reality that opened up to me, as if a window had suddenly opened in a wall! Here, I said to myself, is something that the painters of Europe have never done; it remains for me to do it. I will study nature under the paint by which woman, after all, makes herself more woman; the ensign of her trade, her flag as the enemy. I will get at the nature of this artificial thing, at the skin underneath it, and the soul under the skin. Watteau and the Court painters have given us the dainty, exterior charm of the masquerade, woman when she plays at being woman, among "lyres and flutes." Degas, of course, has done something of what I want to do, but only a part, and with other elements in his pure design, the drawing of Ingres, setting itself new tasks, exercising its technique upon shapeless bodies in tubs, and the strained muscles of the dancer's leg as she does "side-practice." What I am going to do is to take all the ugliness, gross artifice, crafty mechanism, of sex disguising itself for its own ends: that new nature which vice and custom make out of the honest curves and colours of natural things.

'Well, I have tried to do that; in all my best work, my work of the last two or three years, I have done it. I am sure that what I have done is a new thing, and I think it is the one new thing left to us Western painters.'

'I am beginning to understand you,' I said, 'and I have not always found it easy. When I admire you, it has so often seemed to me irrational. I am gradually finding out your logic. Do you remember those talks we used to have at Bognor, one in particular, when you told me about your way of seeing?'

'Yes, yes,' he said, 'I remember, but there was one thing I am almost sure I did not tell you, and it is curious. I don't understand it myself. Do you know what it is to be haunted by colours? There is something like a temptation of the devil, to me, in the colour green. I know it is the commonest colour in nature, it is a good, honest colour, it is the grass, the trees, the leaves, very often the sea. But no, it isn't like that that it comes to me. To me it is an aniline dye, poisoning nature. I adore and hate it. I can never get away from it. If I paint a group outside a cafe at Montmartre by gas-light or electric light, I paint a green shadow on the faces, and I suppose the green shadow isn't there; yet I paint it. Some tinge of green finds its way invariably into my flesh-colour; I see something green in rouged cheeks, in peroxide-of-hydrogen hair; green lays hold of this poor, unhappy flesh that I paint, as if anticipating the colour-scheme of the grave. I know it, and yet I can't help doing it; I can't explain to you how it is that I at once see and don't see a thing; but so it is.

'And it grew upon me too like an obsession. I always wanted to keep my eyes perfectly clear, so that I could make my own arrangements of things for myself, deliberately; but this, in some unpleasant way, seemed horribly like "nature taking the pen out of one's hand and writing," as somebody once said about a poet. I would rather do all the writing myself; the more so, as I have to translate as I go.'

He broke off suddenly, as if a wave of exhaustion had come over him. His eyes, which had been very bright, had gone dull again, and he let his head droop till the chin rested on his breast.

'I have tired you,' I said, 'you must not talk any more. Try to go to sleep now, and I will come back another day.'

'To-morrow?' he said, looking at me sleepily.

I promised. When I went back the next day he was weaker, but he insisted on sitting up and talking. He spoke of his wife, without affection and without bitterness; he spoke of death, with so little apprehension, or even curiosity, that I was startled. His art was still a much more realisable thing to him.

'Do you believe in God, religion, and all that?' he said. 'To tell you the honest truth, I have never been able to take a vital interest in those or any other abstract matters: I am so well content with this world, if it would only go on existing, and I don't in the least care how it came into being, or what is going to happen to it after I have moved on. I suppose one ought to feel some sort of reverence for something, for an unknown power, at least, which has certainly worked to good purpose. Well, I can't. I don't know what reverence is. If I were quite healthy, I should be a pagan, and choose, well! Dionysus Zagreus, a Bacchus who has been in hell, to worship after my fashion, in some religious kind of "orgie on the mountains." That is how somebody explains the origin of religion, or was it of religious hymns? I forget; but, you see, having had this rickety sort of body to drag about with me, I have never been able to follow any of my practical impulses of that sort, and I have had to be no more than an unemployed atheist, ready to gibe at the gods he doesn't understand.

'I am afraid even in art,' he went on, as if leaving unimportant things for the one thing important, 'I don't find it easy to look up to anybody, at least in a way that anybody can be imagined as liking. I have never gone very much to the National Gallery, not because I don't think Venetian and Florentine pictures quite splendid, painted when they were, but because I can get nothing out of them that is any good for me, now in this all but twentieth century. You won't expect me, of all people, to prate about progress, but, all the same, it's no use going to Botticelli for hints about modern painting. We have different things to look at, and see them differently. A man must be of his time, else why try to put his time on the canvas? There are people, of course, who don't, if you call them painters: Watts, Burne-Jones, Moreau, that sort of hermit-crab. But I am talking about painting life and making it live. If it comes to making pictures for churches and curiosity shops!'

He spoke eagerly, but in a voice which grew more and more tired, and with long pauses. I was going to try to get him to rest when the front door opened noisily and I heard Mrs. Waydelin's voice in the hall. I heard other voices, men's and women's, feet coming up the stairs. I looked apprehensively at Waydelin. He showed no surprise. I heard a door open on the landing; then, a moment after, it was shut, and Mrs. Waydelin came into the bedroom, flushed and perspiring through the paint, and ran up to the bed. 'I have brought a few friends in to supper,' she said. 'They won't disturb you, you know, and I couldn't very well get out of it.'

She would have entered into explanations, but Waydelin cut her short. 'I have not the least objection,' he said. 'I must only ask you to apologise to them for my absence. I am hardly entertaining at present.'

She stared at him, as if wondering what he meant; then she asked me if I would join her at supper, and I declined; then went to the dressing-table, took up a pot of vaseline and looked at her eyelashes in the glass; then put it down again, came back to the bed, told Peter Waydelin to cheer up, and bounced out of the room.

I could see that Waydelin was now very tired and in need of sleep. I got up to go. The partition between the two rooms must have been very thin, for I could hear a champagne-cork drawn, the shrill laughter of women, men talking loudly, and chairs being moved about the floor. 'I don't mind,' he said, seeing what I was thinking, 'so long as they don't sing. But they won't begin to sing for two hours yet, and I can get some sleep. Good-night. Perhaps I shall not see you again.'

'May I come again?' I said.

'I always like seeing you,' he said, smiling, and thereupon turned over on the pillow, just as he was, and fell asleep.

I looked at his face as he lay there, with the shawl about his shoulders and his hands outside the bedclothes. The jaw hung loose, the cheeks were pinched with exhaustion, sweat stood out about the eyes. The sudden collapse into sleep alarmed me. I could not leave him in such a state, and with no one at hand but those people supping in the next room. I sat down in a corner near the bed and waited.

As I sat there listening to the exuberant voices, I wondered by what casual or quixotic impulse Waydelin had been led to marry the woman, and whether the woman was really heartless because she sat drinking champagne with her friends of the music-hall while her husband, a man of genius in his way, lay dying in the next room. I forced myself to acknowledge that she had probably no suspicion of how near she was to being a widow, that Waydelin would deceive her to the end in this matter, and the last thing in the world he would desire would be to see Mrs. Waydelin in tears at the foot of the bed.

As time went on the supper-party got merrier, but Waydelin did not stir, and I sat still in my corner. It was probably in about two hours, as he had foreseen, that a chord was struck on the piano, and a man began to sing a music-hall song in a rough, facile voice. At the sound Waydelin shivered through his whole body and woke up. In a very weak voice he asked me for water. I brought him a glass of water and held it to his lips. He drank a little and then pushed it away and began shivering again. 'Let me send for a doctor,' I said, but he seized my hand, and said violently that he would see no doctor. In the next room the piano rattled and all the voices joined in the chorus. I distinguished the voice of Mrs. Waydelin. He seemed to be listening to it, and I said, 'Let me call her in.' 'Poor Clara may as well amuse herself,' he said, with his odd smile. 'What is the use? I feel very much as if I am going to die. Will it bother you: being here, I mean?' His voice seemed to grow weaker as he spoke, and his eyes stared. I left him and went hastily into the other room. The singer stopped abruptly, and the girl at the piano turned round. I saw the remains of supper on the table, the empty glasses and bottles, the chairs tilted back, the cigars, tobacco-smoke, the flushed faces, rings, artificial curls; and then Mrs. Waydelin came to me out of the midst of them, looking almost frightened, and said, 'What's the matter?' 'Get rid of these people at once,' I said in a low voice, 'and send for a doctor.' Her face sobered instantly, she took one step to the bell, was about to ring it, then turned and said to one of the men, 'Go for a doctor, Jim,' and to the others, 'You'll go, all of you, quietly?' and then she came with me into the bedroom.

Waydelin lay shivering and quaking on the bed; he seemed very conscious and wholly preoccupied with himself. He never looked at the woman as she flung herself on the floor by the bedside and began to cry out to him and kiss his hand. The tears ran down over her cheeks, leaving ghastly furrows in the wet powder, which clotted and caked under them. The curl was beginning to come out of her too yellow hair, which straggled in wisps about her ears. She sobbed in gulps, and entreated him to look at her and forgive her. At that he looked, and as he looked life seemed to revive in his eyes. He motioned to me to lift him up. I lifted him against the pillows, and in a weak voice he asked me for drawing-paper and a pencil. 'Don't move,' he said to his wife, who knelt there struck into rigid astonishment, with terror and incomprehension in her eyes. The pose, its grotesque horror, were finer than the finest of his inventions. He made a few scrawls on the paper, trying to fix that last and best pose of his model. But he could no longer guide the pencil, and he let it drop out of his hand with a look of helplessness, almost of despair, and sank down in the bed and shut his eyes. He did not open them again. The doctor came, and tried all means to revive him, but without success. Something in him seemed consciously to refuse to come back to life. He lay for some time, dying slowly, with his eyes fast shut, and it was only when the doctor had felt his heart and found no movement that he knew he was dead.

AN AUTUMN CITY.

To Daniel Roserra life was a matter of careful cultivation. He respected nature, for what might be cunningly extracted from nature; provided only that one's aim was a quite personal thing, willingly subject to surroundings on its way to the working out of itself. He tended his soul as one might tend some rare plant; careful above most things of the earth it was to take root in. And so he thought much of the influence of places, of the image a place makes for itself in the consciousness, of all that it might do in the formation of a beautiful or uncomely disposition. Places had virtues of their own for him; he supposed that he had the quality of divining their secrets; at all events, if they were places to which he could possibly be sensitive. Much of his time was spent in travelling, in a leisurely way, about Europe; not for the sake of seeing anything in particular, for he had no interest in historical associations or in the remains of ugly things that happened to be old, or in visiting the bric-a-brac museums of the fine arts which make some of the more tolerable countries tedious. He chose a city, a village, or a seashore for its charm, its appeal to him personally; nothing else mattered.

When Roserra was forty he fell in love, quite suddenly, though he had armed himself, as he imagined, against such disturbances of the aesthetic life, and was invulnerable. He had always said that a woman was like a liqueur: a delightful luxury, to be taken with discretion. He feared the influence of a companion in his delicate satisfactions: he realised that a woman might not even be a sympathetic companion. He had, it is true, often wished to try the experiment, a risky one, of introducing a woman to one of his friends among cities; it was a temptation, but he remembered how rarely such introductions work well among people. Would the cities be any more fortunate?

When, however, he fell in love, all hesitation was taken out of his hands by the mere force of things. Livia Dawlish was remarkably handsome, some people thought her beautiful; she was tall and dark, and had a sulky, enigmatical look that teased and attracted him. Some who knew her very well said that it meant nothing, and was merely an accident of colour and form, like the green eye of the cat or the golden eye of the buffalo. Roserra tried to study her, but he could get no point of view. He felt something that he had never felt before, and this something was like a magnetic current flowing subtly from her to him; perhaps, like the magnetic rocks in the 'Arabian Nights,' ready to draw out all the nails and bolts of his ship, and drown him among the wrecked splinters of his life.