"I suppose we are," he agreed, "But what person? It's a regular corker. There are only three, and two of them are impossible. As to Boles, it is a fact that he brought up that jug of barley water and he poured out half a tumblerful and gave it me to drink. And he has brought me up barley water on several other occasions. But I really can't suspect Boles. It seems ridiculous."
"It is not for me to suggest any suspicions," said I. "But the facts that you mention are rather striking. Are there any other facts? What about your relations with Boles? There is nothing, I suppose, to suggest a motive?"
"Not a motive for poisoning me," he replied. "It is a fact that Boles and I are not as good friends as we used to be. We don't hit it off very well nowadays, though we remain, in a sort of way, partners. But I suspect that Boles would have cut it and gone off some time ago if it had not been for my wife. She and he have always been the best of friends—they are distant cousins of some kind—and I think they are quite attached to each other. So Boles goes on working in my studio for the sake of keeping in touch with her. At least, that is how I size things up."
It seemed to me that this was rather like an affirmative answer to my question, and perhaps it appeared so to him. But it was a somewhat delicate matter and neither of us pursued it any farther. Instead, I changed the subject and asked:
"What do you propose to do about it?"
"I don't propose to do anything," he replied. "What could I do? Of course, I shall keep my weather eyelid lifting, but I don't suppose anything further will happen now that you and Dr. Thorndyke have let the cat so thoroughly out of the bag. I shall just go on working in my studio in the same old way, and I shall make no difference whatever in my relations with Boles. No reason why I should as I really don't suspect him."
"Your studio is somewhere at the back of the house, isn't it?" I asked.
"At the side," he replied, "across the yard. Come along one day and see it," he added, cordially, "and I will unfold the whole art and mystery of making pottery. Come whenever you like and as soon as you can. I think you will find the show interesting."
As he issued this invitation (which I accepted gladly) he rose and picked up his hat; and we walked out together to the street door and said farewell on the door-step.
VI. SHADOWS IN THE STUDIO
Peter Gannet's invitation to me to visit his studio and see him at work was to develop consequences that I could not then have foreseen; nor shall I hint at them now, since it is the purpose of this narrative to trace the course of events in the order in which they occurred. I merely mention the consequences to excuse the apparent triviality of this part of my story.
At my first visit I was admitted by Mrs. Gannet, to whom I explained that this was a friendly call and not a professional visit. Nevertheless, I loitered awhile to hear her account of her husband and to give a few words of advice. Then she conducted me along the hall to a side door which opened on a paved yard, in which the only salient object was a large galvanized dust-bin. Crossing this yard, we came to a door which was furnished with a large, grotesque, bronze knocker and bore in dingy white lettering the word "Studio."
Mrs. Gannet executed a characteristic rat-tat on the knocker, and without waiting for an answer, opened the door and invited me to enter; I did, and found myself in a dark space, the front of which was formed by a heavy black curtain. As Mrs. Gannet had shut the door behind me, I was plunged in complete obscurity, but groping at the curtain, I presently drew its end aside and then stepped out into the light of the studio.
"Excuse my not getting up," said Gannet, who was seated at a large bench, "and also not shaking hands. Reasons obvious," and in explanation he held up a hand that was plastered with moist clay. "I am glad to see you, Doctor," he continued, adding. "Get that stool from Boles's bench and set it alongside mine."
I fetched the stool and placed it beside his at the bench, and having seated myself, proceeded to make my observations. And very interesting observations they were, for everything that met my eye—the place itself and everything in it—was an occasion of surprise. The whole establishment was on an unexpected scale. The studio, a great barn of a place, evidently, by its immense north window, designed and built as such, would have accommodated a sculptor specializing in colossal statues. The kiln looked big enough for a small factory; and the various accessories—a smaller kiln, a muffle furnace, a couple of grinding mills, a large iron mortar with a heavy pestle, and some other appliances—seemed out of proportion to what I supposed to be the actual output.
But the most surprising object was the artist, himself, considered in connection with his present occupation. Dressed correctly for the part in an elegant gown or smock of blue linen, and wearing a black velvet skull cap, "The Master" was, as I have said, seated at the bench, working at the beginnings of a rather large bowl. I watched him for a while in silent astonishment, for the method of work used by this "Master Craftsman" was that which I had been accustomed to associate with the Kindergarten. It was true that the latter had simply adopted, as suitable for children, the methods of ancient and primitive people, but these seemed hardly appropriate to a professional potter. However, such as the method was, he seemed to be quite at home with it and to work neatly and skilfully; and I was interested to note how little he appeared to be incommoded by a stiff joint in the middle finger of the right hand. Perhaps I might as well briefly describe the process.
On the large bench before him was a stout, square board, like a cook's pastry board, and on this was a plaster "bat," or slab, the upper surface of which had a dome-like projection (now hidden) to impart the necessary hollow to the bottom of the bowl. This latter (I am now speaking from subsequent experience) was made by coiling a roll, or cord, of clay into a circular disc, somewhat like a Catharine-wheel, and then rubbing the coils together with the finger to produce a flat plate. When the bottom was finished and cut true, the sides of the bowl were built up in the same way. At the side of the pastry board was an earthenware pan in which was a quantity of the clay cord, looking rather like a coil of gas tubing, and from this the artist picked out a length, laid it on top of the completed part of the side, and, having carried it round the circumference, pinched it off and then pressed it down lightly, and rubbed and stroked it with his finger and a wooden modeling tool until it was completely united to the part below.
"Why do you pinch it off?" I inquired. "Why not coil it up continuously?"
"Because," he explained, "if you built a bowl by just coiling the clay cord round and round without a break, it would be higher one side than the other. So I pinch it off when I have completed a circle; and you notice that I begin the next tier in a different place, so that the joins don't come over each other. If they did, there would be a mark right up the side of the bowl."
"Yes," I agreed, "I see that, though it hadn't occurred to me. But do you always work in this way?"
"With the clay coils?" said he. "No. This is the quick method and the least trouble. But for more important pieces, to which I seek to impart the more personal and emotional qualities and at the same time to express the highest degree of plasticity, I dispense with the coil and work, as a sculptor does, with simple pellets of clay."
"But," said I, "what about the wheel? I see you have one, and it looks quite a high-class machine. Don't you throw any of your work on it?"
He looked at me solemnly, almost reproachfully, as he replied:
"Never. The machine I leave to the machinist; to the mass-producer and the factory. I don't work for Woolworth's or the crockery shops. I am not concerned with speed of production or quantity of output or mechanical regularity of form. Those things appertain to trade. I, in my humble way, am an artist; and though my work is but simple pottery, I strive to infuse into it qualities that are spiritual, to make it express my own soul and personality. The clay is to me, as it was to other and greater masters of the medium—such as Delia Robbia and Donatello—the instrument of emotional utterance."
To this I had nothing to
say. It would not have been polite to give expression to my views, which were that his claims seemed to be extravagantly disproportionate to his achievements. But I was profoundly puzzled, and became more so as I watched him; for it appeared to me that what he was doing was not beyond my own powers, at least with a little practice, and I found myself half-unconsciously balancing the three obvious possibilities but unable to reach a conclusion.
Could it be that Gannet was a mere impostor, a pretender to artistic gifts that were purely fictitious? Or was he, like those mentally unbalanced "modernists" who honestly believe their crude and childish daubings to be great masterpieces, simply suffering from a delusion? Or was it possible that his uncouth, barbaric bowls and jars did really possess some subtle aesthetic qualities that I had failed to perceive merely from a lack of the necessary special sensibility? Modesty compelled me to admit the latter possibility. There are plenty of people to whom the beauties of nature or art convey nothing, and it might be that I was one of them.
My speculations were presently cut short by a thundering nourish on the knocker, at which Gannet started with a muttered curse. Then the door burst open and Mr. Frederick Boles swaggered into the studio, humming a tune.
"I wish you wouldn't make that damned row when you come in, Boles," Gannet exclaimed, irritably.
He cast an angry glance at his partner, or tenant, to which the latter responded with a provocative grin.
"Sorry, dear boy," said he. "I'm always forgetting the delicate state of your nerves. And here's the doctor. How de do, Doc? Hope you find your patient pretty well. Hm? None the worse for all that arsenic that they tell me you put into his medicine? Ha ha!"
He bestowed on me an impudent stare through his eyeglass, removed the latter to execute a solemn wink, and then replaced it; after which, as I received his attentions quite impassively (though I should have liked to kick him), he turned away and swaggered across to the part of the studio which appeared to be his own domain, followed by a glance of deep dislike from Gannet which fairly expressed my own sentiments.
Mr. Boles was not a prepossessing person. Nevertheless, I watched his proceedings with some interest, being a little curious as to the kind of industry that he carried on; and presently, smothering my distaste—for I was determined not to quarrel with him—I strolled across to observe him at close quarters. He was seated on a rough, box-like stool, similar to the one which I had borrowed, at an ordinary jeweler's bench fitted with a gas blowpipe and a tin tray in place of the usual sheep-skin. At the moment he was engaged in cutting with an engraving tool a number of shallow pits in a flattened gold object which might have been a sketchy model of a plaice or turbot. I watched him for some time, a little mystified as to the result aimed at, for the little pits seemed, themselves, to have no determinate shape nor could I make out any plan in their arrangement. At length I ventured on a cautious inquiry.
"Those little hollows, I suppose, form the pattern on this—er—object?"
"Don't call it an object. Doc," he protested. "It's a pendant, or it will be when it is finished; and those hollows will form the pattern—or more properly, the surface enrichment—when they are filled with enamel."
"Oh, they are to be filled with enamel," said I, "and the spots of enamel will make the pattern. But I don't quite see what the pattern represents."
"Represents!" he repeated, indignantly, fixing his monocle (which he did not use while working) to emphasize the reproachful stare that he turned on me. "It doesn't represent anything. I'm not a photographer. The enamel spots will just form a symphony of harmonious, gem-like colour with a golden accompaniment. You don't want representation on a jewel. That can be left to the poster artist. What I aim at is harmony—rhythm—the concords of abstract colour. Do you follow me?"
"I think I do," said I. It was an outrageous untruth, for his explanation sounded like mere meaningless jargon. "But," I added, "probably I shall understand better when I have seen the finished work."
"I can show you a finished piece of the same kind now," said he; and laying down his work and the scorer, he went to the small cupboard in which he kept his materials and produced from it a small brooch which he placed in my hand and requested me to consider as "a study in polychromatic harmony."
It was certainly a cheerful and pleasant-looking object but strangely devoid of workmanship (though I noticed, on turning it over, that the pin and catch seemed to be quite competently finished); a simple elliptical tablet of gold covered with irregular-shaped spots of many-coloured enamel distributed over the surface in apparently accidental groups. The effect was as if drops of wax from a number of coloured candles had fallen on it.
"You see," said Boles, "how each of these spots of colour harmonizes and contrasts with all the others and reinforces them?"
"Yes, I see that," I replied, "but I don't see why you should not have grouped the spots into some sort of pattern."
Boles shook his head. "No," said he, "that would never do. The intrusion of form would have destroyed the natural rhythm of contrasting colour. The two things must be kept separate. Gannet is concerned with abstract form mainly uncomplicated with colour. My concern is with abstract colour liberated from form."
I made shift to appear as if this explanation conveyed some meaning to me and returned the brooch with a few appreciative comments. But I was completely fogged; so much so that I presently took the opportunity to steal away in order that I might turn matters over in my mind.
It was quite a curious problem. What was it that was really going on in that studio? There was a singular air of unreality about the industries that were carried on there. Gannet, with his archaic pottery, had been difficult enough to accept as a genuine artist; but Boles was even more incredible. And different as the two men were in all other respects, they were strangely alike in their special activities. Both talked what sounded like inflated, pretentious nonsense. Both assumed the airs of artists and virtuosi. And yet each of them appeared to be occupied with work which—to my eye—showed no sign of anything more than the simplest technical skill, and nothing that I could recognize as artistic ability.
Yet I had to admit that the deficiency might be in my own powers of perception. The curious phase of art known as "modernism" made me aware of widespread taste for pictures and sculpture of a pseudo-barbaric or primitive type; and the comments of the art critics on some of these works were not so very unlike the stuff that I had heard from Boles and Gannet. So perhaps these queer productions were actually what they professed to be and I was just a Philistine who couldn't recognize a work of art when I saw it.
But there was one practical question that rather puzzled me. What became of these wares? Admittedly, neither of these men worked for the retail shops. Then how did they dispose of their works, and who bought them? Both men were provided with means and appliances on a quite considerable scale and it was to be presumed that their output corresponded to the means of production; moreover, both were apparently obtaining a livelihood by their respective industries. Somewhere there must be a demand for primitive pottery and barbaric jewelry. But where was it? I decided—though it was none of my business—to make a few cautious inquiries.
Another matter, of more legitimate interest to me, was that of the relations of these two men. Ostensibly they were friends, comrades, fellow-workers, and in a sense, partners. But real friends they certainly were not. That had been frankly admitted by Gannet; and even if it had not been, his dislike of Boles was manifest and hardly dissembled. And, of course, it was natural enough if he suspected Boles of having tried to poison him, to say nothing of the rather doubtful relations of that gentleman with Mrs. Gannet. Indeed, I could not understand why, if he harboured this suspicion—of which Thorndyke seemed to entertain no doubt—he should have allowed the association to continue.
But if Gannet's sentiments towards Boles were unmistakable, the converse was by no means true. Boles's manners were not agreeable. They were coarse and vulgar—excepting when he was talking "h
igh-brow"—and inclined to be rude. But though he was a bounder he was not consciously uncivil, and—so far as I could at present judge—he showed no signs of unfriendliness towards Gannet. The dislike appeared to be all on the one side.
Yet there must have been something more than met the eye. For if it was the fact—and I felt convinced that it was—that Boles had made a deliberate, cold-blooded attempt to poison Gannet, that attempt implied a motive which, to put it mildly, could not have been a benevolent one.
These various problems combined to make the studio a focus of profound interest to me, and as my practice at this period was productive principally of leisure, I spent a good deal of my time there; more, indeed, than I should have if Gannet had not made it so plain that my visits were acceptable. Sometimes I wondered whether it was my society that he enjoyed, or whether it might have been that my frequenting the studio gave him some sort of feeling of security. It might easily have been so, for, whenever I found him alone, I took the opportunity to satisfy myself that all was well with him. At any rate, he seemed always glad to see me, and for my part, I found the various activities of the two workers interesting to watch, quite independently of the curious problems arising out of their very odd relations.
By degrees my status changed from that of a mere spectator to something like that of a co-worker. There were many odd jobs to be done requiring no special skill and in these I was able to "lend a hand." For instance, there was the preparation of the "grog"—why so-called I never learned, for it was a most unconvivial material, being simply a powder made by pounding the fragments of spoiled or defective earthenware or broken saggars and used to temper the clay to prevent it from cracking in the fire. The broken pots or saggars were pounded in a great iron mortar until they were reduced to small fragments, when the latter were transferred to the grog mill and ground to powder. Then the powder was passed through a series of sieves, each marked with the number of meshes to the inch, and the different grades of powder—coarse, medium and fine—stored in their appropriate bins.
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