Part 33 (1/2)
'Is not modesty a Gorgio virtue, Lady Sinfi?' murmured Cyril.
'Nothin' like a painter for thinkin' strong beer of hisself,' she replied; 'but I likes him--oh, I likes him.'
'No man whose soul is stained by fleshly desire shall render in art all that there is in a truly beautiful woman's face,' said Wilderspin. 'I worked hard at imaginative painting; I worked for years and years, Mr. Aylwin, but with scant success. It shames me to say that I was at last discouraged. Hut, after a time, I began to feel that the spirit-world was giving me a strength of vision second only to the Master's own, and a cunning of hand greater than any vouchsafed to man since the death of Raphael. This was once stigmatised as egotism; but ”Faith and Love,” and the predella ”Isis behind the Veil,” have told another story. I did not despair, I say; for I knew the cause of my failure. Two sources of inspiration were wanting to me--that of a superlative subject and that of a superlative model. For the first I am indebted to Philip Aylwin; for the second I am indebted to--'
'A greater still, Miss Gudgeon, of Primrose Court,' interjected Cyril.
'For the second I'm indebted to my mother. And yet something else was wanting,' continued Wilderspin, 'to enable me for many months to concentrate my life upon one work--the self-sacrificing generosity of such a friend as I think no man ever had before.
'Wilderspin,' said Cyril, rising, 'the Duke of Little Egypt sleeps, as you see. His Grace of the Pyramids snores, as you hear. The autobiography of a man of genius is interesting; but I fear that yours will have to be continued in our next.'
'But Mr. Aylwin wants to hear--'
'He and our other idyllic friends are early to bed and early to rise; they have, in the morning, trout to catch for breakfast, and we have a good way to walk to-night.'
'That's just like my friend,' said Wilderspin. 'That's my friend all over.'
With this they left us, and we betook ourselves to our usual evening occupations.
Next morning the two painters called upon us. Wilderspin sketched alone, while Sinfi, Rhona, Cyril, and I went trout-fis.h.i.+ng in one of the numerous brooks.
'What do you think of my friend by this time?' said Cyril to me.
'He is my fifth mystic,' I replied; 'I wonder what the sixth will be like. Is he really as great a painter as he takes himself to he, or does his art begin and end with flowery words?'
'I believe,' said Cyril, pointing across to where Wilderspin sat at work, 'that the strange creature under that white umbrella is the greatest artistic genius now living. The death of his mother by starvation has turned his head, poor fellow, but turned it to good purpose: ”Faith and Love” is the greatest modern picture in Europe.
To be sure, he has the advantage of painting from the finest model ever seen, the lovely, if rather stupid, Miss Gudgeon, of Primrose Court, whom he monopolises.'
Cyril had already, during the morning, told me that my mother, who was much out of health, was now staying in London, where he had for the first time in his life met her at Lord Sleaford's house.
Notwithstanding their differences of opinion, my mother and he seemed to have formed a mutual liking. He also told me that my uncle Cecil Aylwin of Alvanley (who in this narrative must not, of course, be confounded with another important relative, Henry Aylwin, Earl of Aylwin) having just died and left me the bulk of his property, I had been in much request. I consequently determined to start for London on the following day, leaving my waggon in charge of Sinfi, who was to sit to Wilderspin in the open air.
During this conversation Sinfi was absorbed in her fis.h.i.+ng, and wandered away up the brook, and I could see that Cyril's eyes were following her with great admiration.
Turning to me and looking at me, he said, 'Lucky dog!' and then, looking again across at Sinfi, he said, 'The finest girl in England.'
V
HAROUN-AL-RASCHID THE PAINTER
I
On reaching London and finding that it was necessary I should remain there for some little time, I wrote to Cyril to say so, sending some messages to Sinfi and her father about my own living-waggon.
My mother was now staying at my aunt's house, whither I went to call upon her shortly after my arrival in town.
Our meeting was a constrained and painful one. It was my mother's cruelty to Winifred that had, in my view, completely ruined two lives. I did not know then what an awful struggle was going on in her own breast between her pride and her remorse for having driven Winnie away, to be lost in Wales. Afterwards her sad case taught me that among all the agents of soul-torture that have ever stung mankind to madness the scorpion Remorse is by far the most appalling. But other events had to take place before she reached the state when the scorpion stings to death all other pa.s.sions, even Pride and even Vanity, and reigns in the bosom supreme. We could hardly meet without softening towards each other. She was most anxious to know what had occurred to me since I left Raxton to search for Winnie. I gave her the entire story from my first seeing Winnie in the cottage, to my _rencontre_ with her at Knockers' Llyn. At this time she had accidentally been brought into contact with Miss Dalrymple, who had lately received a legacy and was now in better circ.u.mstances. Miss Dalrymple had spoken in high terms of Winnie's intelligence and culture, little thinking how she was making my mother feel more acutely than ever her own wrongdoing. Knowing that I was very fond of music, my mother persuaded me to take her on several occasions to the opera and the theatre. She with more difficulty persuaded me to consult a medical man upon the subject of my insomnia; and at last I agreed, though very reluctantly, to consult Dr. Mivart, late of Raxton, who was now living in London. Mivart attributed my ailment (as I, of course, knew he would) to hypochondria, and I saw that he was fully aware of the cause. I therefore opened my mind to him upon the subject. I told him everything in connection with Winifred in Wales.
He pondered the subject carefully and then said: