Part 46 (1/2)

A DEAD FINGER

I

Why the National Gallery should not attract so many visitors as, say, the British Museum, I cannot explain. The latter does not contain much that, one would suppose, appeals to the interest of the ordinary sightseer. What knows such of prehistoric flints and scratched bones? Of a.s.syrian sculpture? Of Egyptian hieroglyphics? The Greek and Roman statuary is cold and dead. The paintings in the National Gallery glow with colour, and are instinct with life. Yet, somehow, a few listless wanderers saunter yawning through the National Gallery, whereas swarms pour through the halls of the British Museum, and talk and pa.s.s remarks about the objects there exposed, of the date and meaning of which they have not the faintest conception.

I was thinking of this problem, and endeavouring to unravel it, one morning whilst sitting in the room for English masters at the great collection in Trafalgar Square. At the same time another thought forced itself upon me. I had been through the rooms devoted to foreign schools, and had then come into that given over to Reynolds, Morland, Gainsborough, Constable, and Hogarth. The morning had been for a while propitious, but towards noon a dense umber-tinted fog had come on, making it all but impossible to see the pictures, and quite impossible to do them justice. I was tired, and so seated myself on one of the chairs, and fell into the consideration first of all of--why the National Gallery is not as popular as it should be; and secondly, how it was that the British School had no beginnings, like those of Italy and the Netherlands. We can see the art of the painter from its first initiation in the Italian peninsula, and among the Flemings. It starts on its progress like a child, and we can trace every stage of its growth. Not so with English art. It springs to life in full and splendid maturity. Who were there before Reynolds and Gainsborough and Hogarth?

The great names of those portrait and subject painters who have left their canvases upon the walls of our country houses were those of foreigners--Holbein, Kneller, Van Dyck, and Lely for portraits, and Monnoyer for flower and fruit pieces. Landscapes, figure subjects were all importations, none home-grown. How came that about? Was there no limner that was native? Was it that fas.h.i.+on trampled on home-grown pictorial beginnings as it flouted and spurned native music?

Here was food for contemplation. Dreaming in the brown fog, looking through it without seeing its beauties, at Hogarth's painting of Lavinia Fenton as Polly Peachum, without wondering how so indifferent a beauty could have captivated the Duke of Bolton and held him for thirty years, I was recalled to myself and my surroundings by the strange conduct of a lady who had seated herself on a chair near me, also discouraged by the fog, and awaiting its dispersion.

I had not noticed her particularly. At the present moment I do not remember particularly what she was like. So far as I can recollect she was middle-aged, and was quietly yet well dressed. It was not her face nor her dress that attracted my attention and disturbed the current of my thoughts; the effect I speak of was produced by her strange movements and behaviour.

She had been sitting listless, probably thinking of nothing at all, or nothing in particular, when, in turning her eyes round, and finding that she could see nothing of the paintings, she began to study me. This did concern me greatly. A cat may look at the king; but to be contemplated by a lady is a compliment sufficient to please any gentleman. It was not gratified vanity that troubled my thoughts, but the consciousness that my appearance produced--first of all a startled surprise, then undisguised alarm, and, finally, indescribable horror.

Now a man can sit quietly leaning on the head of his umbrella, and glow internally, warmed and illumined by the consciousness that he is being surveyed with admiration by a lovely woman, even when he is middle-aged and not fas.h.i.+onably dressed; but no man can maintain his composure when he discovers himself to be an object of aversion and terror.

What was it? I pa.s.sed my hand over my chin and upper lip, thinking it not impossible that I might have forgotten to shave that morning, and in my confusion not considering that the fog would prevent the lady from discovering neglect in this particular, had it occurred, which it had not. I am a little careless, perhaps, about shaving when in the country; but when in town, never.

The next idea that occurred to me was--a s.m.u.t. Had a London black, curdled in that dense pea-soup atmosphere, descended on my nose and blackened it? I hastily drew my silk handkerchief from my pocket, moistened it, and pa.s.sed it over my nose, and then each cheek. I then turned my eyes into the corners and looked at the lady, to see whether by this means I had got rid of what was objectionable in my personal appearance.

Then I saw that her eyes, dilated with horror, were riveted, not on my face, but on my leg.

My leg! What on earth could that harmless member have in it so terrifying? The morning had been dull; there had been rain in the night, and I admit that on leaving my hotel I had turned up the bottoms of my trousers. That is a proceeding not so uncommon, not so outrageous as to account for the stony stare of this woman's eyes.

If that were all I would turn my trousers down.

Then I saw her shrink from the chair on which she sat to one further removed from me, but still with her eyes fixed on my leg--about the level of my knee. She had let fall her umbrella, and was grasping the seat of her chair with both hands, as she backed from me.

I need hardly say that I was greatly disturbed in mind and feelings, and forgot all about the origin of the English schools of painters, and the question why the British Museum is more popular than the National Gallery.

Thinking that I might have been spattered by a hansom whilst crossing Oxford Street, I pa.s.sed my hand down my side hastily, with a sense of annoyance, and all at once touched something cold, clammy, that sent a thrill to my heart, and made me start and take a step forward. At the same moment, the lady, with a cry of horror, sprang to her feet, and with raised hands fled from the room, leaving her umbrella where it had fallen.

There were other visitors to the Picture Gallery besides ourselves, who had been pa.s.sing through the saloon, and they turned at her cry, and looked in surprise after her.

The policeman stationed in the room came to me and asked what had happened. I was in such agitation that I hardly knew what to answer. I told him that I could explain what had occurred little better than himself. I had noticed that the lady had worn an odd expression, and had behaved in most extraordinary fas.h.i.+on, and that he had best take charge of her umbrella, and wait for her return to claim it.

This questioning by the official was vexing, as it prevented me from at once and on the spot investigating the cause of her alarm and mine--hers at something she must have seen on my leg, and mine at something I had distinctly felt creeping up my leg.

The numbing and sickening effect on me of the touch of the object I had not seen was not to be shaken off at once. Indeed, I felt as though my hand were contaminated, and that I could have no rest till I had thoroughly washed the hand, and, if possible, washed away the feeling that had been produced.

I looked on the floor, I examined my leg, but saw nothing. As I wore my overcoat, it was probable that in rising from my seat the skirt had fallen over my trousers and hidden the thing, whatever it was. I therefore hastily removed my overcoat and shook it, then I looked at my trousers. There was nothing whatever on my leg, and nothing fell from my overcoat when shaken.

Accordingly I reinvested myself, and hastily left the Gallery; then took my way as speedily as I could, without actually running, to Charing Cross Station and down the narrow way leading to the Metropolitan, where I went into Faulkner's bath and hairdressing establishment, and asked for hot water to thoroughly wash my hand and well soap it. I bathed my hand in water as hot as I could endure it, employed carbolic soap, and then, after having a good brush down, especially on my left side where my hand had encountered the object that had so affected me, I left. I had entertained the intention of going to the Princess's Theatre that evening, and of securing a ticket in the morning; but all thought of theatre-going was gone from me. I could not free my heart from the sense of nausea and cold that had been produced by the touch. I went into Gatti's to have lunch, and ordered something, I forget what, but, when served, I found that my appet.i.te was gone. I could eat nothing; the food inspired me with disgust. I thrust it from me untasted, and, after drinking a couple of gla.s.ses of claret, left the restaurant, and returned to my hotel.

Feeling sick and faint, I threw my overcoat over the sofa-back, and cast myself on my bed.

I do not know that there was any particular reason for my doing so, but as I lay my eyes were on my great-coat.

The density of the fog had pa.s.sed away, and there was light again, not of first quality, but sufficient for a Londoner to swear by, so that I could see everything in my room, though through a veil, darkly.