But Mr. Newell’s conditions were inflexible. He would “see the thing through” for his daughter’s sake; but he stipulated that in the meantime there should be no meetings or farther communications of any kind. He agreed to be ready when Garnett called for him, at the appointed hour on the wedding-day; but until then he begged to be left alone. To this decision he adhered immovably, and when Garnett conveyed it to Hermione she accepted it with a deep look of understanding. As for Mrs. Newell she was too much engrossed in the nuptial preparations to give her husband another thought. She had gained her point, she had disarmed her foes, and in the first flush of success she had no time to remember by what means her victory had been won. Even Garnett’s services received little recognition, unless he found them sufficiently compensated by the new look in Hermione’s eyes.
The principal figures in Mrs. Newell’s foreground were the Woolsey Hubbards and Baron Schenkelderff. With these she was in hourly consultation, and Mrs. Hubbard went about aureoled with the importance of her close connection with an “aristocratic marriage,” and dazzled by the Baron’s familiarity with the intricacies of the Almanach de Gotha. In his society and Mrs. Newell’s, Mrs. Hubbard evidently felt that she had penetrated to the sacred precincts where “the right thing” flourished in its native soil. As for Hermione, her look of happiness had returned, but with an undertint of melancholy, visible perhaps only to Garnett, but to him always hauntingly present. Outwardly she sank back into her passive self, resigned to serve as the brilliant lay-figure on which Mrs. Newell hung the trophies of conquest. Preparations for the wedding were zealously pressed. Mrs. Newell knew the danger of giving people time to think things over, and her fears about her husband being allayed, she began to [87] dread a new attempt at evasion on the part of the bridegroom’s family.
“The sooner it’s over the sounder I shall sleep!” she declared to Garnett; and all the mitigations of art could not conceal the fact that she was desperately in need of that restorative. There were moments, indeed, when he was sorrier for her than for her husband or her daughter; so black and unfathomable appeared the abyss into which she must slip back if she lost her hold on this last spar of safety.
But she did not lose her hold; his own experience, as well as her husband’s declaration, might have told him that she always got what she wanted. How much she had wanted this particular thing was shown by the way in which, on the last day, when all peril was over, she bloomed out in renovated splendour. It gave Garnett a shivering sense of the ugliness of the alternative which had confronted her.
The day came; the showy coupe provided by Mrs. Newell presented itself punctually at Garnett’s door, and the young man entered it and drove to the rue Panonceaus. It was a little melancholy back street, with lean old houses sweating rust and damp, and glimpses of pit-life gardens, black and sunless, between walls bristling with iron spikes. On the narrow pavement a blind man pottered along led by a red-eyed poodle: a little farther on a dishevelled woman sat grinding coffee on the threshold of a buvette. The bridal carriage stopped before one of the doorways, with a clatter of hoofs and harness which drew the neighbourhood to its windows, and Garnett started to mount the ill-smelling stairs to the fourth floor, on which he learned from the concierge that Mr. Newell lodged. But half-way up he met the latter descending, and they turned and went down together.
Hermione’s parent wore his usual imperturbable look, and his eye seemed as full as ever of generalisations on human folly; but there was something oddly shrunken and submerged in his appearance, as though he had grown smaller or his clothes larger. And on the last hypothesis Garnett paused—for it became evident to him that Mr. Newell had hired his dress-suit.
Seated at the young man’s side on the satin cushions, he remained silent while the carriage rolled smoothly and rapidly through the network of streets leading to the Boulevard Saint-Germain; only once he remarked, glancing at the elaborate fittings of the coupe: “Is this Mrs. Newell’s carriage?”
“I believe so—yes,” Garnett assented, with the guilty sense that in defining that lady’s possessions it was impossible not to trespass on those of her friends.
Mr. Newell made no farther comment, but presently requested his companion to rehearse to him once more the exact duties which were to devolve on him during the coming ceremony. Having mastered these he remained silent, fixing a dry speculative eye on the panorama of the brilliant streets, till the carriage drew up at the entrance of Saint Philippe du Roule.
With the same air of composure he followed his guide through the mob of spectators, and up the crimson velvet steps, at the head of which, but for a word from Garnett, a formidable Suisse, glittering with cocked hat and mace, would have checked the advance of the small crumpled figure so oddly out of keeping with the magnificence of the bridal party. The French fashion prescribing that the family cortege shall follow the bride to the altar, the vestibule of the church was thronged with the participatore in the coming procession; but if Mr. Newell felt any nervousness at his sudden projection into this unfamiliar group, nothing in his look or manner betrayed it. He stood beside Garnett till a white-favoured carriage, dashing up to the church with a superlative glitter of highly groomed horseflesh and silver-plated harness, deposited the snowy apparition of the bride, supported by her mother; then, as Hermione entered the vestibule, he went forward quietly to meet her.
The girl, wrapped in the haze of her bridal veil, and a little confused, perhaps, by the anticipation of the meeting, paused a moment, as if in doubt, before the small oddly-clad figure which blocked her path—a horrible moment to Garnett, who felt a pang of misery at this satire on the infallibility of the filial instinct. He longed to make some sign, to break in some way the pause of uncertainty; but before he could move he saw Mrs. Newell give her daughter a sharp push, he saw a blush of compunction flood Hermione’s face, and the girl, throwing back her veil, bent her tall head and flung her arms about her father.
Mr. Newell emerged unshaken from the embrace: it seemed to have no effect beyond giving an odder twist to his tie. He stood beside his daughter till the church doors were thrown open; then, at a sign from the verger, he gave her his arm, and the strange couple, with the long train of fashion and finery behind them, started on their march to the altar.
Garnett had already slipped into the church and secured a post of vantage which gave him a side-view over the assemblage. The building was thronged—Mrs. Newell had attained her ambition and given Hermione a smart wedding. Garnett’s eye travelled curiously from one group to another—from the numerous representatives of the bridegroom’s family, all stamped with the same air of somewhat dowdy distinction, the air of having had their thinking done for them for so long that they could no longer perform the act individually, and the heterogeneous company of Mrs. Newell’s friends, who presented, on the opposite side of the nave, every variety of individual conviction in dress and conduct. Of the two groups the latter was decidedly the more interesting to Garnett, who observed that it comprised not only such recent acquisitions as the Woolsey Hubbards and the Baron, but also sundry more important figures which of late had faded to the verse of Mrs. Newell’s horizon. Hermione’s marriage had drawn them back, bad once more made her mother a social entity, had in short already accomplished the object for which it had been planned and executed.
And as he looked about him Garnett saw that all the other actors in the show faded into insignificance beside the dominant figure of Mrs. Newell, became mere marionettes pulled hither and thither by the hidden wires of her intention. One and all they were there to serve her ends and accomplish her purpose: Schenkelderff and the Hubbards to pay for the show, the bride and bridegroom to seal and symbolize her social rehabilitation, Garnett himself as the humble instrument adjusting the different parts of the complicated machinery, and her husband, finally, as the last stake in her game, the last asset on which she could draw to rebuild her fallen fortunes. At the thought Garnett was filled with a deep disgust for what the scene sign
ified, and for his own share in it. He had been her tool and dupe like the others; if he imagined that he was serving Hermione, it was for her mother’s ends that he had worked. What right had he to sentimentalise a marriage founded on such base connivances, and how could he have imagined that in so doing he was acting a disinterested part?
While these thoughts were passing through his mind the ceremony had already begun, and the principal personages in the drama were ranged before him in the row of crimson velvet chairs which fills the foreground of a Catholic marriage. Through the glow of lights and the perfumed haze about the altar, Garnett’s eyes rested on the central figures of the group, and gradually the others disappeared from his view and his mind. After all, neither Mrs. Newell’s schemes nor his own share in them could ever unsanctify Hermione’s marriage. It was one more testimony to life’s indefatigable renewals, to nature’s secret of drawing fragrance from corruption; and as his eyes turned from the girl’s illuminated presence to the resigned and stoical figure sunk in the adjoining chair, it occured to him that he had perhaps worked better than he knew in placing them, if only for a moment, side by side.
IN TRUST
IN the good days, just after we all left college, Ned Halidon and I used to listen, laughing and smoking, while Paul Ambrose set forth his plans.
They were immense, these plans, involving, as it sometimes seemed, the ultimate aesthetic redemption of the whole human race; and provisionally restoring the sense of beauty to those unhappy millions of our fellow country-men who, as Ambrose movingly pointed out, now live and die in surroundings of unperceived and unmitigated ugliness.
“I want to bring the poor starved wretches back to their lost inheritance, to the divine past they’ve thrown away—I want to make ‘em hate ugliness so that they’ll smash nearly everything in sight,” he would passionately exclaim, stretching his arms across the shabby black-walnut writing-table and shaking his thin consumptive fist in the fact of all the accumulated ugliness in the world.
“You might set the example by smashing that table,” I once suggested with youthful brutality; and Paul, pulling himself up, cast a surprised glance at me, and then looked slowly about the parental library, in which we sat.
His parents were dead, and he had inherited the house in Seventeenth Street, where his grandfather Ambrose had lived in a setting of black walnut and pier glasses, giving Madeira dinners, and saying to his guests, as they rejoined the ladies across a florid waste of Aubusson carpet: “This, sir, is Dabney’s first study for the Niagara—the Grecian Slave in the bay window was executed for me in Rome twenty years ago by my old friend Ezra Stimpson—” by token of which he passed for a Maecenas in the New York of the ‘forties,’ and a poem had once been published in the Keepsake or the Book of Beauty “On a picture in the possession of Jonathan Ambrose, Esqre.”
Since then the house had remained unchanged. Paul’s father, a frugal liver and hard-headed manipulator of investments, did not inherit old Jonathan’s artistic sensibilities, and was content to live and die in the unmodified black walnut and red rep of his predecessor. It was only in Paul that the grandfather’s aesthetic faculty revived, and Mrs. Ambrose used often to say to her husband, as they watched the little pale-browed boy poring over an old number of the Art Journal: “Paul will know how to appreciate your father’s treasures.”
In recognition of these transmitted gifts Paul, on leaving Harvard, was sent to Paris with a tutor, and established in a studio in which nothing was ever done. He could not paint, and recognized the fact early enough to save himself much wasted labor and his friends many painful efforts in dissimulation. But he brought back a touching enthusiasm for the forms of beauty which an old civilization had revealed to him and an apostolic ardour in the cause of their dissemination.
He had paused in his harangue to take in my ill-timed parenthesis, and the color mounted slowly to his thin cheek-bones.
“It is an ugly room,” he owned, as though he had noticed the library for the first time.
The desk was carved at the angles with the heads of helmeted knights with long black-walnut moustaches. The red cloth top was worn thread-bare, and patterned like a map with islands and peninsulas of ink; and in its centre throned a massive bronze inkstand representing a Syrian maiden slumbering by a well beneath a palm-tree.
“The fact is,” I said, walking home that evening with Ned Halidon, “old Paul will never do anything, for the simple reason that he’s too stingy.”
Ned, who was an idealist, shook his handsome head. “It’s not that, my dear fellow. He simply doesn’t see things when they’re too close to him. I’m glad you woke him up to that desk.”
The next time I dined with Paul he said, when we entered the library, and I had gently rejected one of his cheap cigars in favour of a superior article of my own: “Look here, I’ve been looking round for a decent writing-table. I don’t care, as a rule, to turn out old things, especially when they’ve done good service, but I see now that this is too monstrous—”
“For an apostle of beauty to write his evangel on,” I agreed, “it is a little inappropriate, except as an awful warning.”
Paul colored. “Well, but, my dear fellow, I’d no idea how much a table of this kind costs. I find I can’t get anything decent—the plainest mahogany—under a hundred and fifty.” He hung his head, and pretended not to notice that I was taking out my own cigar.
“Well, what’s a hundred and fifty to you?” I rejoined. “You talk as if you had to live on a book-keeper’s salary, with a large family to support.”
He smiled nervously and twirled the ring on his thin finger. “I know—I know—that’s all very well. But for twenty tables that I don’t buy I can send some fellow abroad and unseal his eyes.”
“Oh, hang it, do both!” I exclaimed impatiently; but the writing-table was never bought. The library remained as it was, and so did the contention between Halidon and myself, as to whether this inconsistent acceptance of his surroundings was due, on our friend’s part, to a congenital inability to put his hand in his pocket, or to a real unconsciousness of the ugliness that happened to fall inside his point of vision.
“But he owned that the table was ugly,” I agreed.
“Yes, but not till you’d called his attention to the fact; and I’ll wager he became unconscious of it again as soon as your back was turned.”
“Not before he’d had time to look at a lot of others, and make up his mind that he couldn’t afford to buy one.”
“That was just his excuse. He’d rather be thought mean than insensible to ugliness. But the truth is that he doesn’t mind the table and is used to it. He knows his way about the drawers.”
“But he could get another with the same number of drawers.”
“Too much trouble,” argued Halidon.
“Too much money,” I persisted.
“Oh, hang it, now, if he were mean would he have founded three travelling scholarships and be planning this big Academy of Arts?”
“Well, he’s mean to himself, at any rate.”
“Yes; and magnificently, royally generous to all the world besides!” Halidon exclaimed with one of his great flushes of enthusiasm.
But if, on the whole, the last word remained with Halidon, and Ambrose’s personal chariness seemed a trifling foible compared to his altruistic breadth of intention, yet neither of us could help observing, as time went on, that the habit of thrift was beginning to impede the execution of his schemes of art-philanthropy. The three travelling scholarships had been founded in the first blaze of his ardour, and before the personal management of his property had awakened in him the sleeping instincts of parsimony. But as his capital accumulated, and problems of investment and considerations of interest began to encroach upon his visionary hours, we saw a gradual arrest in the practical development of his plan.
“For every thousand dollars he talks of spending on his work, I believe he knocks off a cigar, or buys one less newspaper,” Halidon grumbled affectionately; �
��but after all,” he went on, with one of the quick revivals of optimism that gave a perpetual freshness to his spirit, “after all, it makes one admire him all the more when one sees such a nature condemned to be at war with the petty inherited instinct of greed.”
Still, I could see it was a disappointment to Halidon that the great project of the Academy of Arts should languish on paper long after all its details had been discussed and settled to the satisfaction of the projector, and of the expert advisers he had called in council.
“He’s quite right to do nothing in a hurry—to take advice and compare ideas and points of view—to collect and classify his material in advance,” Halidon argued, in answer to a taunt of mine about Paul’s perpetually reiterated plea that he was still waiting for So-and-so’s report; “but now that the plan’s mature—and such a plan! You’ll grant it’s magnificent?—I should think he’d burn to see it carried out, instead of pottering over it till his enthusiasm cools and the whole business turns stale on his hands.”
That summer Ambrose went to Europe, and spent his holiday in a frugal walking-tour through Brittany. When he came back he seemed refreshed by his respite from business cares and from the interminable revision of his cherished scheme; while contact with the concrete manifestations of beauty had, as usual, renewed his flagging ardour.
“By Jove,” he cried, “whenever I indulged my unworthy eyes in a long gaze at one of those big things—picture or church or statue—I kept saying to myself: ‘You lucky devil, you, to be able to provide such a sight as that for eyes that can make some good use of it! Isn’t it better to give fifty fellows a chance to paint or carve or build, than to be able to daub canvas or punch clay in a corner all by yourself?’”
“Well,” I said, when he had worked off his first ebullition, “when is the foundation stone to be laid?”
The Hermit and the Wild Woman, and Other Stories Page 7
