December Love Part 22

Garstin, who was as mischievous as a monkey, and who loved to play cat and mouse with a woman, continued to gaze at her with his a.s.sumption of fierce attention.

"But Leighton being unfortunately dead, we can't go to him for your portrait," he continued gravely. "I think we shall have to hand you over to McEvoy. Smith!" he suddenly roared.

"Well, what is it, d.i.c.k, what is it?" said the sculptor in a thin voice, with high notes which came surprisingly through the thicket of tangled hair about the cavern of his mouth.

"Who shall paint Beryl as Ceres?"

"I refuse to be painted by anyone as Ceres!" said Miss Van Tuyn, almost viciously.

"It ought to have been Leighton. But he's been translated. I suggested McEvoy."

"Oh, Lord! He'd take the substance out of her, make her transparent!"

"I have it then! Orpen! It shall be Orpen! Then she will be hung on the line."

"You talk as if I were the week's was.h.i.+ng," said Miss Van Tuyn, recovering herself. "But I would rather be on the clothes-line than on the line at the Royal Academy. No, d.i.c.k, I shall wait."

"What for, my girl?"

"For you to get over your acute attack of Cafe Royal. You don't know how they laugh at you in Paris for always painting morphinomanes and chloral drinkers. That sort of thing was done to death in France in the youth of Degas. It may be new over here. But England always lags behind in art, always follows at the heels of the French. You are too big a man--"

"I've got it, Smith," said Garstin, interrupting in the quiet even voice of one who had been indulging an undisturbed process of steady thought, and who now announced the definite conclusion reached. "I have it. Frank d.i.c.ksee is the man!"

At this moment Jennings, who for some time had been uneasily groping through his beard, and turning the rings round and round on his thin damp fingers, broke in with a flood of speech about modern French art, in which names of all the latest painters of Paris spun by like twigs on a spate of turbulent water. The Georgians were soon up and after him in full cry. It was now nearly closing time, and several friends of Garstin's, models and others, who had been scattered about in the cafe, and who were on their way out, stopped to hear what was going on. Some adherents of Jennings also came up. The discussion became animated.

Voices waxed roaringly loud or piercingly shrill. The little Bolshevik, suddenly losing her round faced calm and the shepherdess look in her eyes, burst forth in a voluble outcry in praise of the beauty of anarchy, expressing herself in broken English, spoken with a c.o.c.kney accent, in broken French and liquid Russian. Enid Blunt, increasingly guttural, and mingling German words with her Bedford Park English, refuted, or strove to refute, Jennings's ecstatic praise of French verse, citing rapidly poems composed by members of the Sitwell group, songs of Siegfried Sa.s.soon, and even lyrics by Lady Margaret Sackville and Miss Victoria Sackville West. Jennings, who thought he was still speaking about pictures and statues, though he had now abandoned the painters and sculptors to their horrid fates in the hands of Garstin and Smith, replied with a vivacity rather Gallic than British, and finally, emerging almost with pa.s.sion from his native language, burst into the only tongue which expresses anything properly, and a.s.sailed his enemy in fluent French. Thapoulos muttered comments in modern Greek. And the Turkish refugee from Smyrna quoted again and again the words of praise from Pierre Loti, which had made of him a moral wreck, a nuisance to all who came into contact with him, a mere prancing megalomaniac.

Miss Van Tuyn did not join in the carnival of praises and condemnations.

She had suddenly recovered her mental balance. Her native irony was roused from its sleep. She was once more the cool, self-possessed and beautiful girl from whose violet eyes satire looked out on all those about her.

"Let them all make fools of themselves for my benefit," was her comfortable thought as she listened to the chatter of tongues.

Even Garstin was being thoroughly absurd, although his adherents stood round catching his vociferations as if they were so many precious jewels.

"The most ridiculous human beings in the world at certain moments are those who work in the arts," was Miss Van Tuyn's mental comment.

"Painters, poets, composers, novelists! All these people are living in blinkers. They can't see the wide world. They can only see studies and studios."

She wished she had Craven with her to share in her silent irony. At that moment she felt some of the very common conceit of the rich dilettante, who tastes but who never creates, for whom indeed most of the creation is arduously accomplished.

"They sweat for me, exhaust themselves for me, tear each other to pieces for me! If I were not here, if the world contained no such products as Beryl Van Tuyn and her like, female and male, what would all the Garstins, and Jenningses and Smiths and Enid Blunts do?"

And she felt superior in her incapacity to create because of her capacity to judge. Wrongly she might, and probably did, judge, but she and her like judged, spent much of their lives in eagerly judging. And the poor creators, whatever they might say, whatever airs they might give themselves, toiled to gain the favourable judgment of the innumerable Beryl Van Tuyns.

Closing time put an end at last to the fracas of tongues. Even geniuses must be driven forth from the electric light to the stars, however unwilling to go into a healthy atmosphere.

There was a general movement. Miss Van Tuyn put on her hat and fur coat, the latter with the a.s.sistance of Jennings. Garstin slipped into a yellow and brown ulster, and jammed a soft hat on to his head with its thick tangle of hair. He lit another cigar and waved his hand to Cora, who was on her way out with a friend.

"A free woman--by G.o.d!" he said once more, swinging round to where Miss Van Tuyn was standing between Jennings and Thapoulos. "I'll paint her again. I'll make a masterpiece of her."

"I'm sure you will. But now walk with me to the Hyde Park Hotel. It's on your way to Chelsea."

"She doesn't care whether I paint her or not. Cora doesn't care. Art means nothing to her. She's out for life, hunks of life. She's after life like a hungry dog after the refuse on a sc.r.a.p heap. That's why I'll paint her. She's hungry. Look at her face."

Miss Van Tuyn, perhaps moved by the sudden, almost ferocious urgency of his loud ba.s.s voice, turned to have a last look at the woman who was "out for life"; but Cora was already lost in the crowd, and instead of gazing into the dead-white face which suggested to her some strange putrefaction, she gazed full into the face of a man. He was not far off--by the doorway through which people were streaming out into Regent Street--and he happened to be looking at her. She had been expecting to see a whiteness which was corpse-like. Instead she was almost startled by the sight of a skin which suggested to her one of her own precious bronzes in Paris. It was certainly less deep in colour, but its smooth and equal, unvarying tint of brown somehow recalled to her those treasures which she genuinely loved and a.s.siduously collected. And he was marvellously handsome as some of her bronzes were handsome, with strong, manly, finely cut features--audacious features, she thought. His mouth specially struck her by its full-lipped audacity. He was tall and had an athletic figure. She could not help swiftly thinking what a curse the modern wrappings of such a figure were; the tubes of cloth or serge--he wore blue serge--the unmeaning waistcoat with tie and pale-blue collar above it, the double-breasted jacket. And then she saw his eyes. Magnificent eyes, she thought them, soft, intelligent, appealing, brown like his skin and hair. And they were gazing at her with a sort of sympathetic intention.

Suddenly she felt oddly restored. Really she had had a bad evening.

Things had not gone quite right for her. She had saved the situation in a measure just at the end by taking refuge in irony. But in her irony she had been quite alone. And to be quite alone in anything is apt to be dull. Craven had let her down. Lady Sellingworth had not played the game--or had played it too well, which was worse. Garstin had been unusually tiresome with his allusions to the Royal Academy and his preposterous concentration on the Cora woman.

This brown stranger's gaze was really like manna falling from heaven in a hungry land. She boldly returned the gaze, stared, trusting to her own beauty. And as she stared she tried to sum up the stranger, and failed.

She guessed him a little over thirty, but not much. And there somehow, after the quick, instinctive guess at his age, she stuck.

"Come on, Beryl!"

Garstin's deep strong voice startled her. At that moment she felt angry with him for calling her by her Christian name, though he had done it ever since they had first made friends--if they were friends--in Paris two years ago, when he had come to have a look at her bronzes with a French painter whom she knew well.

"You are going to walk back with me?"

"To be sure I am. He is devilish good looking, but he ought to be out of those clothes."

"d.i.c.k!"

He smiled at her sardonically. She knew that he seldom missed anything, but his sharp observation in the midst of the squash of people going out of the cafe took her genuinely aback. And then he had got at her thought, at one of her most definite thoughts at least, about the brown stranger!

"You are disgustingly clever," she said, as they made their way out, followed by the Georgians and their attendant cosmopolitans. "I believe I dislike you for it to-night."

"Then take a cab home and I'll walk."

"No, thank you. I'd rather endure your abominable intelligence."

He smiled, curling up the left corner of his sensual mouth.

"Come on then. Don't bother about good-byes to all these fools. They'll never stop talking if they once begin good-bying. Like sheep they don't know how to get away from each other since they've been herded together.

Come on! Come on!"

He thrust an arm through hers and almost roughly, but forcibly, got her away through the throng. As he did so she was pushed by, or accidentally pushed against, several people. For a brief instant she was in contact with a man. She felt his side, the bone of one of his hips. It was the man who had looked at her in the cafe. She saw in the night the gleam of his big brown eyes looking down into hers. Then she and Garstin were tramping--Garstin always seemed to be tramping when he walked--over the pavement of Regent Street.

"Catch on tight! Let's get across and down to Piccadilly."

"Very well."

Presently they were pa.s.sing the Ritz. They got away from the houses on that side. Now on their left were the tall railings that divided them from the stretching s.p.a.ces of the Park shrouded in the darkness and mystery of night.

"Well, my girl, what are you after?" said Garstin, who never troubled about the conventionalities, and seemed never to care what anyone thought of him and his ways. "Go ahead. Let me have it. I'm not coming in to your beastly hotel, you know. So get on with your bow wow Dowager."

"So you remember that I had begun--"

"Of course I do."

"Do you ever miss anything--let anything escape you?"