Part 34 (2/2)
Nurse Rosemary moved towards the door. ”How shall I know them?” she asked, and waited.
The chords of the Veni hushed to a murmur, Garth's voice from the piano came clear and distinct, but blending with the harmonies as if he were reciting to music.
”A woman and a man ... alone, in a garden--but the surroundings are only indicated. She is in evening dress; soft, black, and trailing; with lace at her breast. It is called: 'The Wife.'”
”Yes?”
”The same woman; the same scene; but without the man, this time. No need to paint the man; for now--visible or invisible--to her, he is always there. In her arms she holds”--the low murmur of chords ceased; there was perfect silence in the room-”a little child. It is called: 'The Mother.'”
The Veni burst forth in an unrestrained upbearing of confident pet.i.tion:
”Keep far our foes; give peace at home”--and the door closed behind Nurse Rosemary.
CHAPTER XXVIII
IN THE STUDIO
Jane mounted to the studio; unlocked the door, and, entering, closed it after her.
The evening sun shone through a western window, imparting an added richness to the silk screens and hangings; the mauve wistaria of a j.a.panese embroidery; or the golden dragon of China on a deep purple ground, wound up in its own interminable tail, and showing rampant claws in unexpected places.
Several times already Jane had been into Garth's studio, but always to fetch something for which he waited eagerly below; and she had never felt free to linger. Margery had a duplicate key; for she herself went up every day to open the windows, dust tenderly all special treasures; and keep it exactly as its owner had liked it kept, when his quick eyes could look around it. But this key was always on Margery's bunch; and Jane did not like to ask admission, and risk a possible refusal.
Now, however, she could take her own time; and she seated herself in one of the low and very deep wicker lounge-chairs, comfortably upholstered; so exactly fitting her proportions, and supporting arms, knees, and head, just rightly, that it seemed as if all other chairs would in future appear inadequate, owing to the absolute perfection of this one. Ah, to be just that to her beloved! To so fully meet his need, at every point, that her presence should be to him always a source of strength, and rest, and consolation.
She looked around the room. It was so like Garth; every detail perfect; every shade of colour enhancing another, and being enhanced by it. The arrangements for regulating the light, both from roof and windows; the easels of all kinds and sizes; clean bareness, where s.p.a.ce, and freedom from dust, were required; the luxurious comfort round the fireplace, and in nooks and corners; all were so perfect. And the plain brown wall-paper, of that beautiful quiet shade which has in it no red, and no yellow; a clear nut-brown. On an easel near the further window stood an unfinished painting; palette and brushes beside it, just as Garth had left them when he went out on that morning, nearly three months ago; and, vaulting over a gate to protect a little animal from unnecessary pain, was plunged himself into such utter loss and anguish.
Jane rose, and took stock of all his quaint treasures on the mantelpiece. Especially her mind was held and fascinated by a stout little bear in bra.s.s, sitting solidly yet jauntily on its haunches, its front paws clasping a brazen pole; its head turned sideways; its small, beady, eyes, looking straight before it. The chain, from its neck to the pole denoted captivity and possible fierceness. Jane had no doubt its head would lift, and its body prove a receptacle for matches; but she felt equally certain that, should she lift its head and look, no matches would be within it. This little bear was unmistakably Early Victorian; a friend of childhood's days; and would not be put to common uses. She lifted the head. The body was empty. She replaced it gently on the mantelpiece, and realised that she was deliberately postponing an ordeal which must be faced.
Deryck had told her of Garth's pictures of the One Woman. Garth, himself, had now told her even more. But the time had come when she must see them for herself. It was useless to postpone the moment. She looked towards the yellow screen.
Then she walked, over to the western window, and threw it wide open.
The sun was dipping gently towards the purple hills. The deep blue of the sky began to pale, as a hint of lovely rose crept into it. Jane looked heavenward and, thrusting her hands deeply into her pockets, spoke aloud. ”Before G.o.d” she said,--”in case I am never able to say or think it again, I will say it now--I BELIEVE I WAS RIGHT. I considered Garth's future happiness, and I considered my own. I decided as I did for both our sakes, at terrible cost to present joy. But, before G.o.d, I believed I was right; and--I BELIEVE IT STILL.”
Jane never said it again.
CHAPTER XXIX
JANE LOOKS INTO LOVE'S MIRROR
Behind the yellow screen, Jane found a great confusion of canvases, and unmistakable evidence of the blind hands which had groped about in a vain search, and then made fruitless endeavours to sort and rearrange.
Very tenderly, Jane picked up each canvas from the fallen heap; turning it the right way up, and standing it with its face to the wall.
Beautiful work, was there; some of it finished; some, incomplete. One or two faces she knew, looked out at her in their pictured loveliness.
But the canvases she sought were not there.
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