Crucial Instances Part 5

You'll help me go to the bottom of this, won't you? We must turn out all the papers--letters, journals, memoranda. He must have made notes. He must have left some record of what led up to this. We must leave nothing unexplored. By Jove," he cried, looking up at her with his bright convincing smile, "do you know you're the granddaughter of a Great Man?"

Her color flickered like a girl's. "Are you--sure of him?" she whispered, as though putting him on his guard against a possible betrayal of trust.

"Sure! Sure! My dear lady--" he measured her again with his quick confident glance. "Don't _you_ believe in him?"

She drew back with a confused murmur. "I--used to." She had left her hands in his: their pressure seemed to send a warm current to her heart.

"It ruined my life!" she cried with sudden pa.s.sion. He looked at her perplexedly.

"I gave up everything," she went on wildly, "to keep him alive. I sacrificed myself--others--I nursed his glory in my bosom and it died--and left me--left me here alone." She paused and gathered her courage with a gasp. "Don't make the same mistake!" she warned him.

He shook his head, still smiling. "No danger of that! You're not alone, my dear lady. He's here with you--he's come back to you to-day. Don't you see what's happened? Don't you see that it's your love that has kept him alive?

If you'd abandoned your post for an instant--let things pa.s.s into other hands--if your wonderful tenderness hadn't perpetually kept guard--this might have been--must have been--irretrievably lost." He laid his hand on the pamphlet. "And then--then he _would_ have been dead!"

"Oh," she said, "don't tell me too suddenly!" And she turned away and sank into a chair.

The young man stood watching her in an awed silence. For a long time she sat motionless, with her face hidden, and he thought she must be weeping.

At length he said, almost shyly: "You'll let me come back, then? You'll help me work this thing out?"

She rose calmly and held out her hand. "I'll help you," she declared.

"I'll come to-morrow, then. Can we get to work early?"

"As early as you please."

"At eight o'clock, then," he said briskly. "You'll have the papers ready?"

"I'll have everything ready." She added with a half-playful hesitancy: "And the fire shall be lit for you."

He went out with his bright nod. She walked to the window and watched his buoyant figure hastening down the elm-shaded street. When she turned back into the empty room she looked as though youth had touched her on the lips.

THE RECOVERY

To the visiting stranger Hillbridge's first question was, "Have you seen Keniston's things?" Keniston took precedence of the colonial State House, the Gilbert Stuart Was.h.i.+ngton and the Ethnological Museum; nay, he ran neck and neck with the President of the University, a prehistoric relic who had known Emerson, and who was still sent about the country in cotton-wool to open educational inst.i.tutions with a toothless oration on Brook Farm.

Keniston was sent about the country too: he opened art exhibitions, laid the foundation of academies, and acted in a general sense as the spokesman and apologist of art. Hillbridge was proud of him in his peripatetic character, but his fellow-townsmen let it be understood that to "know"

Keniston one must come to Hillbridge. Never was work more dependent for its effect on "atmosphere," on _milieu_. Hillbridge was Keniston's milieu, and there was one lady, a devotee of his art, who went so far as to a.s.sert that once, at an exhibition in New York, she had pa.s.sed a Keniston without recognizing it. "It simply didn't want to be seen in such surroundings; it was hiding itself under an incognito," she declared.

It was a source of special pride to Hillbridge that it contained all the artist's best works. Strangers were told that Hillbridge had discovered him. The discovery had come about in the simplest manner. Professor Driffert, who had a reputation for "collecting," had one day hung a sketch on his drawing-room wall, and thereafter Mrs. Driffert's visitors (always a little flurried by the sense that it was the kind of house in which one might be suddenly called upon to distinguish between a dry-point and an etching, or between Raphael Mengs and Raphael Sanzio) were not infrequently subjected to the Professor's off-hand inquiry, "By-the-way, have you seen my Keniston?" The visitors, perceptibly awed, would retreat to a critical distance and murmur the usual guarded generalities, while they tried to keep the name in mind long enough to look it up in the Encyclopaedia. The name was not in the Encyclopaedia; but, as a compensating fact, it became known that the man himself was in Hillbridge. Hillbridge, then, owned an artist whose celebrity it was the proper thing to take for granted! Some one else, emboldened by the thought, bought a Keniston; and the next year, on the occasion of the President's golden jubilee, the Faculty, by unanimous consent, presented him with a Keniston. Two years later there was a Keniston exhibition, to which the art-critics came from New York and Boston; and not long afterward a well-known Chicago collector vainly attempted to buy Professor Driffert's sketch, which the art journals cited as a rare example of the painter's first or silvery manner. Thus there gradually grew up a small circle of connoisseurs known in artistic, circles as men who collected Kenistons.

Professor Wildmarsh, of the chair of Fine Arts and Archaeology, was the first critic to publish a detailed a.n.a.lysis of the master's methods and purpose. The article was ill.u.s.trated by engravings which (though they had cost the magazine a fortune) were declared by Professor Wildmarsh to give but an imperfect suggestion of the esoteric significance of the originals.

The Professor, with a tact that contrived to make each reader feel himself included among the exceptions, went on to say that Keniston's work would never appeal to any but exceptional natures; and he closed with the usual a.s.sertion that to apprehend the full meaning of the master's "message" it was necessary to see him in the surroundings of his own home at Hillbridge.

Professor Wildmarsh's article was read one spring afternoon by a young lady just speeding eastward on her first visit to Hillbridge, and already flushed with antic.i.p.ation of the intellectual opportunities awaiting her.

In East Onondaigua, where she lived, Hillbridge was looked on as an Oxford.

Magazine writers, with the easy American use of the superlative, designated it as "the venerable Alma Mater," the "antique seat of learning," and Claudia Day had been brought up to regard it as the fountain-head of knowledge, and of that mental distinction which is so much rarer than knowledge. An innate pa.s.sion for all that was thus distinguished and exceptional made her revere Hillbridge as the native soil of those intellectual amenities that were of such difficult growth in the thin air of East Onondaigua. At the first suggestion of a visit to Hillbridge--whither she went at the invitation of a girl friend who (incredible apotheosis!) had married one of the University professors--Claudia's spirit dilated with the sense of new possibilities.

The vision of herself walking under the "historic elms" toward the Memorial Library, standing rapt before the Stuart Was.h.i.+ngton, or drinking in, from some obscure corner of an academic drawing-room, the President's reminiscences of the Concord group--this vividness of self-projection into the emotions awaiting her made her glad of any delay that prolonged so exquisite a moment.

It was in this mood that she opened the article on Keniston. She knew about him, of course; she was wonderfully "well up," even for East Onondaigua.

She had read of him in the magazines; she had met, on a visit to New York, a man who collected Kenistons, and a photogravure of a Keniston in an "artistic" frame hung above her writing-table at home. But Professor Wildmarsh's article made her feel how little she really knew of the master; and she trembled to think of the state of relative ignorance in which, but for the timely purchase of the magazine, she might have entered Hillbridge.

She had, for instance, been densely unaware that Keniston had already had three "manners," and was showing symptoms of a fourth. She was equally ignorant of the fact that he had founded a school and "created a formula"; and she learned with a thrill that no one could hope to understand him who had not seen him in his studio at Hillbridge, surrounded by his own works.

"The man and the art interpret each other," their exponent declared; and Claudia Day, bending a brilliant eye on the future, wondered if she were ever to be admitted to the privilege of that double initiation.

Keniston, to his other claims to distinction, added that of being hard to know. His friends always hastened to announce the fact to strangers--adding after a pause of suspense that they "would see what they could do."

Visitors in whose favor he was induced to make an exception were further warned that he never spoke unless he was interested--so that they mustn't mind if he remained silent. It was under these rea.s.suring conditions that, some ten days after her arrival at Hillbridge, Miss Day was introduced to the master's studio. She found him a tall listless-looking man, who appeared middle-aged to her youth, and who stood before his own pictures with a vaguely interrogative gaze, leaving the task of their interpretation to the lady who had courageously contrived the visit. The studio, to Claudia's surprise, was bare and shabby. It formed a rambling addition to the small cheerless house in which the artist lived with his mother and a widowed sister. For Claudia it added the last touch to his distinction to learn that he was poor, and that what he earned was devoted to the maintenance of the two limp women who formed a neutral-tinted background to his impressive outline. His pictures of course fetched high prices; but he worked slowly--"painfully," as his devotees preferred to phrase it--with frequent intervals of ill health and inactivity, and the circle of Keniston connoisseurs was still as small as it was distinguished. The girl's fancy instantly hailed in him that favorite figure of imaginative youth, the artist who would rather starve than paint a pot-boiler. It is known to comparatively few that the production of successful pot-boilers is an art in itself, and that such heroic abstentions as Keniston's are not always purely voluntary. On the occasion of her first visit the artist said so little that Claudia was able to indulge to the full the harrowing sense of her inadequacy. No wonder she had not been one of the few that he cared to talk to; every word she uttered must so obviously have diminished the inducement! She had been cheap, trivial, conventional; at once gus.h.i.+ng and inexpressive, eager and constrained. She could feel him counting the minutes till the visit was over, and as the door finally closed on the scene of her discomfiture she almost shared the hope with which she confidently credited him--that they might never meet again.

II

Mrs. Davant glanced reverentially about the studio. "I have always said,"

she murmured, "that they ought to be seen in Europe."

Mrs. Davant was young, credulous and emotionally extravagant: she reminded Claudia of her earlier self--the self that, ten years before, had first set an awestruck foot on that very threshold.

"Not for _his_ sake," Mrs. Davant continued, "but for Europe's."

Claudia smiled. She was glad that her husband's pictures were to be exhibited in Paris. She concurred in Mrs. Davant's view of the importance of the event; but she thought her visitor's way of putting the case a little overcharged. Ten years spent in an atmosphere of Keniston-wors.h.i.+p had insensibly developed in Claudia a preference for moderation of speech.

She believed in her husband, of course; to believe in him, with an increasing abandonment and tenacity, had become one of the necessary laws of being; but she did not believe in his admirers. Their faith in him was perhaps as genuine as her own; but it seemed to her less able to give an account of itself. Some few of his appreciators doubtless measured him by their own standards; but it was difficult not to feel that in the Hillbridge circle, where rapture ran the highest, he was accepted on what was at best but an indirect valuation; and now and then she had a frightened doubt as to the independence of her own convictions. That innate sense of relativity which even East Onondaigua had not been able to check in Claudia Day had been fostered in Mrs. Keniston by the artistic absolutism of Hillbridge, and she often wondered that her husband remained so uncritical of the quality of admiration accorded him. Her husband's uncritical att.i.tude toward himself and his admirers had in fact been one of the surprises of her marriage. That an artist should believe in his potential powers seemed to her at once the incentive and the pledge of excellence: she knew there was no future for a hesitating talent. What perplexed her was Keniston's satisfaction in his achievement. She had always imagined that the true artist must regard himself as the imperfect vehicle of the cosmic emotion--that beneath every difficulty overcome a new one lurked, the vision widening as the scope enlarged. To be initiated into these creative struggles, to shed on the toiler's path the consolatory ray of faith and encouragement, had seemed the chief privilege of her marriage.

But there is something supererogatory in believing in a man obviously disposed to perform that service for himself; and Claudia's ardor gradually spent itself against the dense surface of her husband's complacency. She could smile now at her vision of an intellectual communion which should admit her to the inmost precincts of his inspiration. She had learned that the creative processes are seldom self-explanatory, and Keniston's inarticulateness no longer discouraged her; but she could not reconcile her sense of the continuity of all high effort to his unperturbed air of finis.h.i.+ng each picture as though he had despatched a masterpiece to posterity. In the first recoil from her disillusionment she even allowed herself to perceive that, if he worked slowly, it was not because he mistrusted his powers of expression, but because he had really so little to express.

"It's for Europe," Mrs. Davant vaguely repeated; and Claudia noticed that she was blus.h.i.+ngly intent on tracing with the tip of her elaborate sunshade the pattern of the shabby carpet.

"It will be a revelation to them," she went on provisionally, as though Claudia had missed her cue and left an awkward interval to fill.

Claudia had in fact a sudden sense of deficient intuition. She felt that her visitor had something to communicate which required, on her own part, an intelligent co-operation; but what it was her insight failed to suggest.

She was, in truth, a little tired of Mrs. Davant, who was Keniston's latest wors.h.i.+pper, who ordered pictures recklessly, who paid for them regally in advance, and whose gallery was, figuratively speaking, crowded with the artist's unpainted masterpieces. Claudia's impatience was perhaps complicated by the uneasy sense that Mrs. Davant was too young, too rich, too inexperienced; that somehow she ought to be warned.--Warned of what?

That some of the pictures might never be painted? Scarcely that, since Keniston, who was scrupulous in business transactions, might be trusted not to take any material advantage of such evidence of faith. Claudia's impulse remained undefined. She merely felt that she would have liked to help Mrs.

Davant, and that she did not know how.

"You'll be there to see them?" she asked, as her visitor lingered.

"In Paris?" Mrs. Davant's blush deepened. "We must all be there together."

Claudia smiled. "My husband and I mean to go abroad some day--but I don't see any chance of it at present."

"But he _ought_ to go--you ought both to go this summer!" Mrs. Davant persisted. "I know Professor Wildmarsh and Professor Driffert and all the other critics think that Mr. Keniston's never having been to Europe has given his work much of its wonderful individuality, its peculiar flavor and meaning--but now that his talent is formed, that he has full command of his means of expression," (Claudia recognized one of Professor Driffert's favorite formulas) "they all think he ought to see the work of the _other_ great masters--that he ought to visit the home of his ancestors, as Professor Wildmarsh says!" She stretched an impulsive hand to Claudia. "You ought to let him go, Mrs. Keniston!"

Claudia accepted the admonition with the philosophy of the wife who is used to being advised on the management of her husband. "I sha'n't interfere with him," she declared; and Mrs. Davant instantly caught her up with a cry of, "Oh, it's too lovely of you to say that!" With this exclamation she left Claudia to a silent renewal of wonder.

A moment later Keniston entered: to a mind curious in combinations it might have occurred that he had met Mrs. Davant on the door-step. In one sense he might, for all his wife cared, have met fifty Mrs. Davants on the door-step: it was long since Claudia had enjoyed the solace of resenting such coincidences. Her only thought now was that her husband's first words might not improbably explain Mrs. Davant's last; and she waited for him to speak.

He paused with his hands in his pockets before an unfinished picture on the easel; then, as his habit was, he began to stroll touristlike from canvas to canvas, standing before each in a musing ecstasy of contemplation that no readjustment of view ever seemed to disturb. Her eye instinctively joined his in its inspection; it was the one point where their natures merged. Thank G.o.d, there, was no doubt about the pictures! She was what she had always dreamed of being--the wife of a great artist. Keniston dropped into an armchair and filled his pipe. "How should you like to go to Europe?" he asked.

His wife looked up quickly. "When?"