THE MARRIAGE OF PHÆDRA
THE MARRIAGE OF PHÆDRA
The sequence of events was such that MacMaster did not make his pilgrimage to Hugh Treffinger's studio until three years after that painter's death. MacMaster was himself a painter, an American of the Gallicized type, who spent his winters in New York, his summers in Paris, and no inconsiderable amount of time on the broad waters between. He had often contemplated stopping in London on one of his return trips in the late autumn, but he had always deferred leaving Paris until the prick of necessity drove him home by the quickest and shortest route.
Treffinger was a comparatively young man at the time of his death, and there had seemed no occasion for haste until haste was of no avail. Then, possibly, though there had been some correspondence between them, MacMaster felt certain qualms about meeting in the flesh a man who in the flesh was so diversely reported. His intercourse with Treffinger's work had been so deep and satisfying, so apart from other appreciations, that he rather dreaded a critical juncture of any sort. He had always felt himself singularly inadept in personal relations, and in this case he had avoided the issue until it was no longer to be feared or hoped for. There still remained, however, Treffinger's great unfinished picture, the Marriage of Phædra, which had never left his studio, and of which MacMaster's friends had now and again brought report that it was the painter's most characteristic production.
The young man arrived in London in the evening, and the next morning went out to Kensington to find Treffinger's studio. It lay in one of the perplexing by-streets off Holland Road, and the number he found on a door set in a high garden wall, the top of which was covered with broken green glass and over which a budding lilac-bush nodded. Treffinger's plate was still there, and a card requesting visitors to ring for the attendant. In response to MacMaster's ring, the door was opened by a cleanly built little man, clad in a shooting jacket and trousers that had been made for an ampler figure. He had a fresh complexion, eyes of that common uncertain shade of grey, and was closely shaven except for the incipient mutton-chops on his ruddy cheeks. He bore himself in a manner strikingly capable, and there was a sort of trimness and alertness about him, despite the too-generous shoulders of his coat. In one hand he held a bulldog pipe, and in the other a copy of Sporting Life. While MacMaster was explaining the purpose of his call, he noticed that the man surveyed him critically, though not impertinently. He was admitted into a little tank of a lodge made of white-washed stone, the back door and windows opening upon a garden. A visitor's book and a pile of catalogues lay on a deal table, together with a bottle of ink and some rusty pens. The wall was ornamented with photographs and coloured prints of racing favourites.
"The studio is h'only open to the public on Saturdays and Sundays," explained the man—he referred to himself as "Jymes"—"but of course we make exceptions in the case of pynters. Lydy Elling Treffinger 'erself is on the Continent, but Sir 'Ugh's orders was that pynters was to 'ave the run of the place." He selected a key from his pocket and threw open the door into the studio which, like the lodge, was built against the wall of the garden.
MacMaster entered a long, narrow room, built of smoothed planks, painted a light green; cold and damp even on that fine May morning. The room was utterly bare of furniture—unless a step-ladder, a model throne, and a rack laden with large leather portfolios could be accounted such—and was windowless, without other openings than the door and the skylight, under which hung the unfinished picture itself. MacMaster had never seen so many of Treffinger's paintings together. He knew the painter had married a woman with money and had been able to keep such of his pictures as he wished. These, with all of his replicas and studies, he had left as a sort of common legacy to the younger men of the school he had originated.
As soon as he was left alone, MacMaster sat down on the edge of the model throne before the unfinished picture. Here indeed was what he had come for; it rather paralysed his receptivity for the moment, but gradually the thing found its way to him.
At one o'clock he was standing before the collection collection of studies done for Boccaccio's Garden when he heard a voice at his elbow.
"Pardon, sir, but I was just about to lock up and go to lunch. Are you lookin' for the figure study of Boccaccio 'imself?" James queried respectfully, "Lydy Elling Treffinger give it to Mr. Rossiter to take down to Oxford for some lectures he's been a-giving there."
"Did he never paint out his studies, then?" asked MacMaster with perplexity. "Here are two completed ones for this picture. Why did he keep them?"
"I don't know as I could say as to that, sir," replied James, smiling indulgently, "but that was 'is way. That is to say, 'e pynted out very frequent, but 'e always made two studies to stand; one in water colours and one in oils, before 'e went at the final picture, to say nothink of all the pose studies 'e made in pencil before he begun on the composition proper at all. He was that particular. You see 'e wasn't so keen for the final effect as for the proper pyntin' of 'is pictures. 'E used to say they ought to be well made, the same as any other h'article of trade. I can lay my 'and on the pose studies for you, sir." He rummaged in one of the portfolios and produced half a dozen drawings. "These three," he continued, "was discarded: these two was the pose he finally accepted; this one without alteration, as it were."
"That's in Paris, as I remember," James continued reflectively. "It went with the Saint Cecilia into the Baron H—'s collection. Could you tell me, sir, 'as 'e it still? I don't like to lose account of them, but some 'as changed 'ands since Sir 'Ugh's death."
"H—'s collection is still intact, I believe," replied MacMaster. "You were with Treffinger long?"
"From my boyhood, sir," replied James with gravity. "I was a stable boy when 'e took me."
"You were his man, then?"
"That's it, sir. Nobody else ever done anything around the studio. I always mixed 'is colours and 'e taught me to do a share of the varnishin'; 'e said as 'ow there wasn't a 'ouse in England as could do it proper. You aynt looked at the Marriage yet, sir?" he asked abruptly, glancing doubtfully at MacMaster, and indicating with his thumb the picture under the north light.
"Not very closely. I prefer to begin with something simpler; that's rather appalling, at first glance," replied MacMaster.
"Well may you say that, sir," said James warmly. "That one regular killed Sir 'Ugh; it regular broke 'im up, and nothink will ever convince me as 'ow it didn't bring on 'is second stroke."
When MacMaster walked back to High Street to take his buss, his mind was divided between two exultant convictions. He felt that he had not only found Treffinger's greatest picture, but that, in James, he had discovered a kind of cryptic index to the painter's personality—a clue which, if tactfully followed, might lead to much.
Several days after his first visit to the studio, MacMaster wrote to Lady Mary Percy, telling her that he would be in London for some time and asking her if he might call. Lady Mary was an only sister of Lady Ellen Treffinger, the painter's widow, and MacMaster had known her during one winter he spent at Nice. He had known her, indeed, very well, and Lady Mary, who was astonishingly frank and communicative upon all subjects, had been no less so upon the matter of her sister's unfortunate marriage.
In her reply to his note, Lady Mary named an afternoon when she would be alone. She was as good as her word, and when MacMaster arrived he found the drawing-room empty. Lady Mary entered shortly after he was announced. She was a tall woman, thin and stiffly jointed; and her body stood out under the folds of her gown with the rigour of cast-iron. This rather metallic suggestion was further carried out in her heavily knuckled hands, her stiff grey hair and long, bold-featured face, which was saved from freakishness only by her alert eyes.
"Really," said Lady Mary, taking a seat beside him and giving him a sort of military inspection through her nose-glasses, "Really, I had begun to fear that I had lost you altogether. It's four years since I saw you at Nice, isn't it? I was in Paris last winter, but I heard nothing from you."
"I was in New York then."
"It occurred to me that you might be. And why are you in London?"
"Can you ask?" replied MacMaster gallantly.
Lady Mary smiled ironically. "But for what else, incidentally?"
"Well, incidentally, I came to see Treffinger's studio and his unfinished picture. Since I've been here, I've decided to stay the summer. I'm even thinking of attempting to do a biography of him."
"So that is what brought you to London?"
"Not exactly. I had really no intention of anything so serious when I came. It's his last picture, I fancy, that has rather thrust it upon me. The notion has settled down on me like a thing destined."
"You'll not be offended if I question the clemency of such a destiny," remarked Lady Mary dryly. "Isn't there rather a surplus of books on that subject already?"
"Such as they are. Oh, I've read them all," here MacMaster faced Lady Mary triumphantly. "He has quite escaped your amiable critics," he added, smiling.
"I know well enough what you think, and I dare say we are not much on art," said Lady Mary with tolerant good humour. "We leave that to peoples who have no physique. Treffinger made a stir for a time, but it seems that we are not capable of a sustained appreciation of such extraordinary methods. In the end we go back to the pictures we find agreeable and unperplexing. He was regarded as an experiment, I fancy; and now it seems that he was rather an unsuccessful one. If you've come to us in a missionary spirit, we'll tolerate you politely, but we'll laugh in our sleeve, I warn you."
"That really dosen't daunt me, Lady Mary," declared MacMaster blandly, "As I told you, I'm a man with a mission."
Lady Mary laughed her hoarse baritone laugh. "Bravo! and you've come to me for inspiration for your panegyric?"
MacMaster smiled with some embarrassment. "Not altogether for that purpose. But I want to consult you, Lady Mary, about the advisability of troubling Lady Ellen Treffinger in the matter. It seems scarcely legitimate to go on without asking her to give some sort of grace to my proceedings, yet I feared the whole subject might be painful to her. I shall rely wholly upon your discretion."
"I think she would prefer to be consulted," replied Lady Mary judicially. "I can't understand how she endures to have the wretched affair continually raked up, but she does. She seems to feel a sort of moral responsibility. Ellen has always been singularly conscientious about this matter, in so far as her light goes,—which rather puzzles me, as hers is not exactly a magnanimous nature. She is certainly trying to do what she believes to be the right thing. I shall write to her, and you can see her when she returns from Italy."
"I want very much to meet her. She is, I hope, quite recovered in every way," queried MacMaster, hesitatingly.
"No, I can't say that she is. She has remained in much the same condition she sank to before his death. He trampled over pretty much whatever there was in her, I fancy. Women don't recover from wounds of that sort; at least, not women of Ellen's grain. They go on bleeding inwardly."
"You, at any rate have not grown more reconciled," MacMaster ventured.
"Oh, I give him his dues. He was a colourist, I grant you; but that is a vague and unsatisfactory quality to marry to; Lady Ellen Treffinger found it so."
"But, my dear Lady Mary," expostulated MacMaster, "and just repress me if I'm becoming too personal—but it must, in the first place, have been a marriage of choice on her part as well as on his."
Lady Mary poised her glasses on her large forefinger and assumed an attitude suggestive of the clinical lecture room as she replied. "Ellen, my dear boy, is an essentially romantic person. She is quiet about it, but she runs deep. I never knew how deep until I came against her on the issue of that marriage. She was always discontented as a girl; she found things dull and prosaic, and the ardour of his courtship was agreeable to her. He met her during her first season in town. She is handsome, and there were plenty of other men, but I grant you your scowling brigand was the most picturesque of the lot. In his courtship, as in everything else, he was theatrical to the point of being ridiculous, but Ellen's sense of humour is not her strongest quality. He had the charm of celebrity, the air of a man who could storm his way through anything to get what he wanted. That sort of vehemence is particularly effective with women like Ellen, who can be warmed only by reflected heat, and she couldn't at all stand out against it. He convinced her of his necessity; and that done, all's done."
"I can't help thinking that, even on such a basis, the marriage should have turned out better," MacMaster remarked reflectively.
"The marriage," Lady Mary continued with a shrug, "was made on the basis of a mutual misunderstanding. Ellen, in the nature of the case, believed that she was doing something quite out of the ordinary in accepting him, and expected concessions which, apparently, it never occurred to him to make. After his marriage he relapsed into his old habits of incessant work, broken by violent and often brutal relaxations. He insulted her friends and foisted his own upon her—many of them well calculated to arouse aversion in any well-bred girl. He had Ghillini constantly at the house—a homeless vagabond, whose conversation was impossible. I don't say, mind you, that he had not grievances on his side. He had probably over-rated the girl's possibilities, and he let her see that he was disappointed in her. Only a large and generous nature could have borne with him, and Ellen's is not that. She could not at all understand that odious strain of plebeian pride which plumes itself upon not having risen above its sources."
As MacMaster drove back to his hotel, he reflected that Lady Mary Percy had probably had good cause for dissatisfaction with her brother-in-law. Treffinger was, indeed, the last man who should have married into the Percy family. The son of a small tobacconist, he had grown up a sign painter's apprentice; idle, lawless, and practically letterless until he had drifted into the night classes of the Albert League, where Ghillini sometimes lectured. From the moment he came under the eye and influence of that erratic Italian, then a political exile, his life had swerved sharply from its old channel. This man had been at once incentive and guide, friend and master, to his pupil. He had taken the raw clay out of the London streets and moulded it anew. Seemingly he had divined at once where the boy's possibilities lay, and had thrown aside every canon of orthodox instruction in the training of him. Under him Treffinger acquired his superficial, yet facile, knowledge of the classics; had steeped himself in the monkish Latin and mediæval romances which later gave his work so naive and remote a quality. That was the beginning of the wattle fences, the cobble pave, the brown roof beams, the cunningly wrought fabrics that gave to his pictures such a richness of decorative effect.
As he had told Lady Mary Percy, MacMaster had found the imperative inspiration of his purpose in Treffinger's unfinished picture, the Marriage of Phædra. He had always believed that the key to Treffinger's individuality lay in his singular education; in the Roman de la Rose, in Boccaccio, and Amadis, those works which had literally transcribed themselves upon the blank soul of the London street boy, and through which he had been born into the world of spiritual things. Treffinger had been a man who lived after his imagination; and his mind, his ideals and, as MacMaster believed, even his personal ethics, had to the last been coloured by the trend of his early training. There was in him alike the freshness and spontaneity, the frank brutality and the religious mysticism which lay well back of the fifteenth century. In the Marriage of Phædra MacMaster found the ultimate expression of this spirit, the final word as to Treffinger's point of view.
As in all Treffinger's classical subjects, the conception was wholly mediæval. This Phædra, just turning from her husband and maidens to greet her husband's son, giving him her first fearsome glance from under her half lifted veil, was no daughter of Minos. The daughter of heathenesse and the early church she was; doomed to torturing visions and scourgings, and the wrangling of soul with flesh. The venerable Theseus might have been victorious Charlemagne, and Phædra's maidens belonged rather in the train of Blanche of Castile than at the Cretan court. In the earlier studies Hippolytus had been done with a more pagan suggestion, but in each successive drawing the glorious figure had been deflowered of something of its serene unconsciousness; until, in the canvas under the skylight, he appeared a very Christian knight. This male figure, and the face of Phædra, painted with such magical preservation of tone under the heavy shadow of the veil, were plainly Treffinger's highest achievements of craftsmanship. By what labour he had reached the seemingly inevitable composition of the picture—with its twenty figures, its plenitude of light and air, its restful distances seen through white porticoes—countless studies bore witness.
From James's attitude toward the picture, MacMaster could well conjecture what the painter's had been. This picture was always uppermost in James's mind; its custodianship formed, in his eyes, his occupation. He was manifestly apprehensive when visitors—not many came nowadays—lingered near it. "It was the Marriage as killed 'im," he would often say, "and for the matter 'o that, it did like to 'av been the death of all of us."
By the end of his second week in London, MacMaster had begun the notes for his study of Hugh Treffinger and his work. When his researches led him occasionally to visit the studios of Treffinger's friends and erstwhile disciples, he found their Treffinger manner fading as the ring Treffinger's personality died out in them. One by one they were stealing back into the fold of national British art; the hand that had wound them up was still. MacMaster despaired of them and confined himself more and more exclusively to the studio, to such of Treffinger's letters as were available—they were for the most part singularly negative and colourless—and to his interrogation of Treffinger's man.
He could not himself have traced the successive steps by which he was gradually admitted into James's confidence. Certainly most of his adroit strategies to that end failed humiliatingly, and whatever it was that built up an understanding between them, must have been instinctive and intuitive on both sides. When at last James became anecdotal, personal, there was that in every word he let fall which put breath and blood into MacMaster's book. James had so long been steeped in that penetrating personality that he fairly exuded it. Many of his very phrases, mannerisms and opinions were impressions that he had taken on like wet plaster in his daily contact with Treffinger. Inwardly he was lined with cast off epithelia, as outwardly he was clad in the painter's discarded coats. If the painter's letters were formal and perfunctory, if his expressions to his friends had been extravagant, contradictory and often apparently insincere—still, MacMaster felt himself not entirely without authentic sources. It was James who possessed Treffinger's legend; it was with James that he had laid aside his pose. Only in his studio, alone, and face to face with his work, as it seemed, had the man invariably been himself. James had known him in the one attitude in which he was entirely honest; their relation had fallen well within the painter's only indubitable integrity. James's report of Treffinger was distorted by no hallucination of artistic insight, coloured by no interpretation of his own. He merely held what he had heard and seen; his mind was a sort of camera obscura. His very limitations made him the more literal and minutely accurate.
One morning when MacMaster was seated before the Marriage of Phædra, James entered on his usual round of dusting.
"I've 'eard from Lydy Elling by the post, sir," he remarked, "an' she's give h'orders to 'ave the 'ouse put in readiness. I doubt she'll be 'ere by Thursday or Friday next."
"She spends most of her time abroad?" queried MacMaster; on the subject of Lady Treffinger James consistently maintained a very delicate reserve.
"Well, you could 'ardly say she does that, sir. She finds the 'ouse a bit dull, I daresay, so durin' the season she stops mostly with Lydy Mary Percy, at Grosvenor Square. Lydy Mary's a h'only sister." After a few moments he continued, speaking in jerks governed by the rigour of his dusting: "Honly this morning I come upon this scarf-pin," exhibiting a very striking instance of that article, "an' I recalled as 'ow Sir 'Ugh give it me when 'e was a-courting of Lydy Elling. Blowed if I ever see a man go in for a 'oman like 'im! 'E was that gone, sir. 'E never went in on any think so 'ard before nor since, till 'e went in on the Marriage there—though 'e mostly went in on things pretty keen; 'ad the measles when 'e was thirty, strong as cholera, an' come close to dyin' of 'em. 'E wasn't strong for Lydy Elling's set; they was a bit too stiff for 'im. A free an' easy gentleman, 'e was; 'e liked 'is dinner with a few friends an' them jolly, but 'e wasn't much on what you might call big affairs. But once 'e went in for Lydy Elling, 'e broke 'imself to new paces. He give away 'is rings an' pins, an' the tylor's man an' the 'abberdasher's man was at 'is rooms continual. 'E got 'imself put up for a club in Piccadilly; 'e starved 'imself thin, an' worrited 'imself white, an' ironed 'imself out, an' drawed 'imself tight as a bow string. It was a good job 'e come a winner, or I don't know w'at'd 'a been to pay."
The next week, in consequence of an invitation from Lady Ellen Treffinger, MacMaster went one afternoon to take tea with her. He was shown into the garden that lay between the residence and the studio, where the tea-table was set under a gnarled pear tree. Lady Ellen rose as he approached—he was astonished to note how tall she was—and greeted him graciously, saying that she already knew him through her sister. MacMaster felt a certain satisfaction in her; in her reassuring poise and repose, in the charming modulations of her voice and the indolent reserve of her full, almond eyes. He was even delighted to find her face so inscrutable, though it chilled his own warmth and made the open frankness he had wished to permit himself impossible. It was a long face, narrow at the chin, very delicately featured, yet steeled by an impassive mask of self-control. It was behind just such finely cut, close-sealed faces, MacMaster reflected, that nature sometimes hid astonishing secrets. But in spite of this suggestion of hardness, he felt that the unerring taste that Treffinger had always shown in larger matters had not deserted him when he came to the choosing of a wife, and he admitted that he could not himself have selected a woman who looked more as Treffinger's wife should look.
While he was explaining the purpose of his frequent visits to the studio, she heard him with courteous interest. "I have read, I think, everything that has been published on Sir Hugh Treffinger's work, and it seems to me that there is much left to be said," he concluded.
"I believe they are rather inadequate," she remarked vaguely. She hesitated a moment, absently fingering the ribbons of her gown, then continued, without raising her eyes; "I hope you will not think me too exacting if I ask to see the proofs of such chapters of your work as have to do with Sir Hugh's personal life. I have always asked that privilege."
MacMaster hastily assured her as to this, adding, "I mean to touch on only such facts in his personal life as have to do directly with his work—such as his monkish education under Ghillini."
"I see your meaning, I think," said Lady Ellen, looking at him with wide, uncomprehending eyes.
When MacMaster stopped at the studio on leaving the house, he stood for some time before Treffinger's one portrait of himself; that brigand of a picture, with its full throat and square head; the short upper lip blackened by the close-clipped moustache, the wiry hair tossed down over the forehead, the strong white teeth set hard on a short pipe stem. He could well understand what manifold tortures the mere grain of the man's strong red and brown flesh might have inflicted upon a woman like Lady Ellen. He could conjecture, too, Treffinger's impotent revolt against that very repose which had so dazzled him when it first defied his daring; and how once possessed of it, his first instinct had been to crush it, since he could not melt it.
Toward the close of the season, Lady Ellen Treffinger left town. MacMaster's work was progressing rapidly, and he and James wore away the days in their peculiar relation, which by this time had much of friendliness. Excepting for the regular visits of a Jewish picture dealer, there were few intrusions upon their solitude. Occasionally a party of Americans rang at the little door in the garden wall, but usually they departed speedily for the Moorish hall and tinkling fountain of the great show studio of London, not far away.
This Jew, an Austrian by birth, who had a large business in Melbourne, Australia, was a man of considerable discrimination, and at once selected the Marriage of Phædra as the object of his especial interest. When, upon his first visit, Lichtenstein had declared the picture one of the things done for time, MacMaster had rather warmed toward him and had talked to him very freely. Later, however, the man's repulsive personality and innate vulgarity so wore upon him that, the more genuine the Jew's appreciation, the more he resented it and the more base he somehow felt it to be. It annoyed him to see Lichtenstein walking up and down before the picture, shaking his head and blinking his watery eyes over his nose-glasses, ejaculating: "Dot is a chem, a chem! It is wordt to gome den dousant miles for such a bainting, eh? To make Eurobe abbreciate such a work of ardt it is necessary to take it away while she is napping. She has never abbreciated until she has lost, but," knowingly, "She will buy back."
James had, from the first, felt such a distrust of the man that he would never leave him alone in the studio for a moment. When Lichtenstein insisted upon having Lady Ellen Treffinger's address, James rose to the point of insolence. "It ay'nt no use to give it, noway. Lydy Treffinger never has nothink to do with dealers." MacMaster quietly repented his rash confidences, fearing that he might indirectly cause Lady Ellen annoyance from his merciless speculator, and he recalled with chagrin that Lichtenstein had extorted from him, little by little, pretty much the entire plan of his book, and especially the place in it which the Marriage of Phædra was to occupy.
By this time the first chapters of MacMaster's book were in the hands of his publisher, and his visits to the studio were necessarily less frequent. The greater part of his time was now employed with the engravers who were to reproduce such of Treffinger's pictures as he intended to use as illustrations.
He returned to his hotel late one evening after a long and vexing day at the engravers, to find James in his room, seated on his steamer trunk by the window, with the outline of a great square draped in sheets resting against his knee.
"Why, James, what's up?" he cried in astonishment, glancing enquiringly at the sheeted object.
"Ay'nt you seen the pypers, sir?" jerked out the man.
"No, now I think of it, I haven't even looked at a paper. I've been at the engravers' plant all day. I haven't seen anything."
James drew a copy of the Times from his pocket and handed it to him, pointing with a tragic finger to a paragraph in the social column. It was merely the announcement of Lady Ellen Treffinger's engagement to Captain Alexander Gresham.
"Well, what of it, my man? That surely is her privilege."
James took the paper, turned to another page, and silently pointed to a paragraph in the art notes which stated that Lady Treffinger had presented to the X— gallery the entire collection of paintings and sketches now in her late husband's studio, with the exception of his unfinished picture, the Marriage of Phædra, which she had sold for a large sum to an Australian dealer who had come to London purposely to secure some of Treffinger's paintings.
MacMaster pursed up his lips and sat down, his overcoat still on. "Well, James, this is something of a—something of a jolt, eh? It never occurred to me she'd really do it."
"Lord, you don't know 'er, sir," said James bitterly, still staring at the floor in an attitude of abandoned dejection.
MacMaster started up in a flash of enlightenment, "What on earth have you got there, James? It's not—surely it's not—"
"Yes, it is, sir," broke in the man excitedly. "It's the Marriage itself. It aynt a-going to H'australia, no'ow!"
"But man, what are you going to do with it? It's Lichtenstein's property now, as it seems."
"It aynt, sir, that it aynt. No, by Gawd it aynt!" shouted James, breaking into a choking fury. He controlled himself with an effort and added supplicatingly: "Oh, sir, you aynt a-going to see it go to H'australia, w'ere they send convic's?" He unpinned and flung aside the sheets as though to let Phædra plead for herself.
MacMaster sat down again and looked sadly at the doomed masterpiece. The notion of James having carried it across London that night rather appealed to his fancy. There was certainly a flavour about such a high-handed proceeding. "However did you get it here?" he queried.
"I got a four-wheeler and come over direct, sir. Good job I 'appened to 'ave the chaynge about me."
"You came up High Street, up Piccadilly, through the Haymarket and Trafalgar Square, and into the Strand?" queried MacMaster with a relish.
"Yes, sir. Of course, sir," assented James with surprise.
MacMaster laughed delightedly. "It was a beautiful idea, James, but I'm afraid we can't carry it any further."
"I was thinkin' as 'ow it would be a rare chance to get you to take the Marriage over to Paris for a year or two, sir, until the thing blows over?" suggested James blandly.
"I'm afraid that's out of the question, James. I haven't the right stuff in me for a pirate, or even a vulgar smuggler, I'm afraid." MacMaster found it surprisingly difficult to say this, and he busied himself with the lamp as he said it. He heard James's hand fall heavily on the trunk top, and he discovered that he very much disliked sinking in the man's estimation.
"Well, sir," remarked James in a more formal tone, after a protracted silence; "then there's nothink for it but as 'ow I'll 'ave to make way with it myself."
"And how about your character, James? The evidence would be heavy against you, and even if Lady Treffinger didn't prosecute, you'd be done for."
"Blow my character!—your pardon, sir," cried James, starting to his feet. "W'at do I want of a character? I'll chuck the 'ole thing, and damned lively, too. The shop's to be sold out, an' my place is gone any'ow. I'm a-going to enlist, or try the gold-fields. I've lived too long with h'artists; I'd never give satisfaction in livery now. You know 'ow it is yourself, sir; there aynt no life like it, no'ow."
For a moment MacMaster was almost equal to abetting James in his theft. He reflected that pictures had been white-washed, or hidden in the crypts of churches, or under the floors of palaces from meaner motives, and to save them from a fate less ignominious. But presently, with a sigh, he shook his head.
"No, James, it won't do at all. It has been tried over and over again, ever since the world has been a-going and pictures a-making. It was tried in Florence and in Venice, but the pictures were always carried away in the end. You see the difficulty is that, although Treffinger told you what was not to be done with the picture, he did not say definitely what was to be done with it. Do you think Lady Treffinger really understands that he did not want it to be sold?"
"Well, sir, it was like this, sir," said James resuming his seat on the trunk and again resting the picture against his knee. "My memory is as clear as glass about it. After Sir 'Ugh got up from 'is first stroke, 'e took a fresh start at the Marriage. Before that 'e 'ad been working at it only at night for awhile back; the Legend was the big picture then, an' was under the north light w'ere 'e worked of a morning. But one day 'e bid me take the Legend down an' put the Marriage in its place, an' 'e says, dashin' on 'is jacket, 'Jymes, this is a start for the finish, this time.'"
"From that on 'e worked at the night picture in the mornin'—a thing contrary to 'is custom. The Marriage went wrong, and wrong—an' Sir 'Ugh a-gettin' seedier an' seedier every day. 'E tried models an' models, an' smudged an' pynted out on account of 'er face goin' wrong in the shadow. Sometimes 'e layed it on the colours, an' swore at me an' things general. He got that discouraged about 'imself that on 'is low days 'e used to say to me: 'Jymes, remember one thing; if anythink 'appens to me, the Marriage is not to go out of 'ere unfinished. It's worth the lot of 'em, my boy, an' it's not a-going to go shabby for lack of pains.' 'E said things to that effect repeated."
"He was workin' at the picture the last day, before 'e went to 'is club. 'E kept the carriage waitin' near an hour while 'e put on a stroke an' then drawed back for to look at it, an' then put on another, careful like. After 'e 'ad 'is gloves on, 'e come back an' took away the brushes I was startin' to clean, an' put in another touch or two. 'It's a-comin' Jymes,' 'e says, 'by gad if it aynt.' An' with that 'e goes out. It was cruel sudden, w'at come after.
"That night I was lookin' to 'is clothes at the 'ouse when they brought 'im 'ome. He was conscious, but w'en I ran down stairs for to 'elp lift 'im up, I knowed 'e was a finished man. After we got 'im into bed, 'e kept lookin' restless at me and then at Lydy Elling and a-jerkin' of 'is 'and. Finally 'e quite raised it an' shot 'is thumb out towards the wall. 'He wants water; ring Jymes,' says Lydy Elling, placid. But I knowed 'e was pointin' to the shop.
"'Lydy Treffinger,' says I, bold, 'he's pointin' to the studio. He means about the Marriage; 'e told me to-day as 'ow 'e never wanted it sold unfinished. Is that it, Sir 'Ugh?'
"He smiled an' nodded slight an' closed 'is eyes. 'Thank you, Jymes,' says Lydy Elling, placid. Then 'e opened 'is eyes an' looked long and 'ard at Lydy Elling.
"'Of course I'll try to do as you'd wish about the pictures, 'Ugh, if that's w'at's troublin' you,' she says quiet. With that 'e closed 'is eyes and 'e never opened 'em. He died unconscious at four that mornin'.
"You see, sir, Lydy Elling was always cruel 'ard on the Marriage. From the first it went wrong, an' Sir 'Ugh was out of temper pretty constant. She came into the studio one day and looked at the picture an' asked 'im why 'e didn't throw it up an' quit a-worriting 'imself. He answered sharp, an' with that she said as 'ow she didn't see w'at there was to make such a row about, no'ow. She spoke 'er mind about that picture, free; an' Sir 'Ugh swore 'ot an' let a 'andful of brushes fly at 'is study, an' Lydy Elling picked up 'er skirts careful an' chill, an' drifted out of the studio with 'er eyes calm and 'er chin 'igh. If there was one thing Lydy Elling 'ad no comprehension of, it was the usefulness of swearin'. So the Marriage was a sore thing between 'em. She is uncommon calm, but uncommon bitter, is Lydy Elling. She's never come a-near the studio since that day she went out 'oldin' up of 'er skirts. Wen 'er friends goes over she excuses 'erself along o' the strain. Strain—Gawd!" James ground his wrath short in his teeth.
"I'll tell you what I'll do, James, and it's our only hope. I'll see Lady Ellen to-morrow. The Times says she returned to-day. You take the picture back to its place, and I'll do what I can for it. If anything is done to save it, it must be done through Lady Ellen Treffinger herself; that much is clear. I can't think that she fully understands the situation. If she did, you know, she really couldn't have any motive—" He stopped suddenly. Somehow, in the dusky lamplight her small, close-sealed face came ominously back to him. He rubbed his forehead and knitted his brows thoughtfully. After a moment he shook his head and went on: "I am positive that nothing can be gained by high-handed methods, James. Captain Gresham is one of the most popular men in London, and his friends would tear up Treffinger's bones if he were annoyed by any scandal of our making—and this scheme you propose would inevitably result in scandal. Lady Ellen has, of course, every legal right to sell the picture. Treffinger made considerable inroads upon her estate, and, as she is about to marry a man without income, she doubtless feels that she has a right to replenish her patrimony."
He found James amenable, though doggedly sceptical. He went down into the street, called a carriage, and saw James and his burden into it. Standing in the doorway, he watched the carriage roll away through the drizzling mist, weave in and out among the wet, black vehicles and darting cab lights, until it was swallowed up in the glare and confusion of the Strand. "It is rather a fine touch of irony," he reflected, "that he, who is so out of it, should be the one to really care. Poor Treffinger," he murmured as, with a rather spiritless smile, he turned back into his hotel, "Poor Treffinger; sic transit gloria."
The next afternoon MacMaster kept his promise. When he arrived at Lady Mary Percy's house he saw preparations for a function of some sort, but he went resolutely up the steps, telling the footman that his business was urgent. Lady Ellen came down alone, excusing her sister. She was dressed for receiving, and MacMaster had never seen her so beautiful. The colour in her cheeks sent a softening glow over her small, delicately cut features.
MacMaster apologized for his intrusion and came unflinchingly to the object of his call. He had come, he said, not only to offer her his warmest congratulations, but to express his regret that a great work of art was to leave England.
Lady Treffinger looked at him in wide-eyed astonishment. Surely, she said, she had been careful to select the best of the pictures for the X— gallery, in accordance with Sir Hugh Treffinger's wishes.
"And did he—pardon me, Lady Treffinger, but in mercy set my mind at rest—did he or did he not express any definite wish concerning this one picture, which to me seems worth all the others, unfinished as it is?"
Lady Treffinger paled perceptibly, but it was not the pallor of confusion. When she spoke there was a sharp tremor in her smooth voice, the edge of a resentment that tore her like pain. "I think his man has some such impression, but I believe it to be utterly unfounded. 1 cannot find that he ever expressed any wish concerning the disposition of the picture to any of his friends. Unfortunately, Sir Hugh was not always discreet in his remarks to his servants."
"Captain Gresham, Lady Ellingham and Miss Ellingham," announced a servant, appearing at the door.
There was a murmur in the hall, and MacMaster greeted the smiling Captain and his aunt as he bowed himself out.
To all intents and purposes the Marriage of Phædra was already entombed in a vague continent in the Pacific, somewhere on the other side of the world.