In March there was all the excitement of sending in to the Salon¹. Clutton, characteristically, had nothing ready, and he was very scornful of the two heads that Lawson sent; they were obviously the work of a student, straight-forward portraits of models, but they had a certain force; Clutton, aiming at perfection, had no patience with efforts which betrayed hesitancy, and with a shrug² of the shoulders told Lawson it was an impertinence to exhibit stuff which should never have been allowed out of his studio; he was not less contemptuous when the two heads were accepted. Flanagan tried his luck too, but his picture was refused. Mrs. Otter³ sent a blameless Portrait de ma Mere⁴, accomplished⁵ and second-rate; and was hung in a very good place.

 

Hayward, whom Philip had not seen since he left Heidelberg, arrived in Paris to spend a few days in time to come to the party which Lawson and Philip were giving in their studio to celebrate the hanging of Lawson's pictures. Philip had been eager to see Hayward again, but when at last they met, he experienced some disappointment. Hayward had altered a little in appearance: his fine hair was thinner, and with the rapid wilting⁶ of the very fair, he was becoming wizened⁷ and colourless; his blue eyes were paler than they had been, and there was a muzziness about his features. On the other hand, in mind he did not seem to have changed at all, and the culture which had impressed Philip at eighteen aroused somewhat the contempt of Philip at twenty-one. He had altered a good deal himself, and regarding with scorn all his old opinions of art, life, and letters, had no patience with anyone who still held them. He was scarcely conscious of the fact that he wanted to show off before Hayward, but when he took him round the galleries he poured out to him all the revolutionary opinions which himself had so recently adopted. He took him to Manet's Olympia and said dramatically:

 

'I would give all the old masters except Velasquez, Rembrandt, and Vermeer for that one picture.'

 

'Who was Vermeer?' asked Hayward.

 

'Oh, my dear fellow, don't you know Vermeer? You're not civilised. You mustn't live a moment longer without making his acquaintance. He's the one old master who painted like a modern.'

 

He dragged Hayward out of the Luxembourg and hurried him off to the Louvre.

 

'But aren't there any more pictures here?' asked Hayward, with the tourist's passion for thoroughness.

 

'Nothing of the least consequence. You can come and look at them by yourself with your Baedeker.'

 

When they arrived at the Louvre Philip led his friend down the Long Gallery.

 

'I should like to see The Gioconda,' said Hayward.

 

'Oh, my dear fellow, it's only literature,' answered Philip.

 

At last, in a small room, Philip stopped before The Lacemaker of Vermeer van Delft.

 

'There, that's the best picture in the Louvre. It's exactly like a Manet.'

 

With an expressive⁸, eloquent⁹ thumb Philip expatiated¹⁰ on the charming work. He used the jargon¹¹ of the studios with overpowering effect.

 

'I don't know that I see anything so wonderful as all that in it,' said Hayward.

 

'Of course it's a painter's picture,' said Philip. 'I can quite believe the layman¹² would see nothing much in it.'

 

'The what?' said Hayward.

 

'The layman.'

 

Like most people who cultivate an interest in the arts, Hayward was extremely anxious to be right. He was dogmatic with those who did not venture to assert themselves, but with the self-assertive he was very modest. He was impressed by Philip's assurance, and accepted meekly¹³ Philip's implied suggestion that the painter's arrogant¹⁴ claim to be the sole possible judge of painting has anything but its impertinence to recommend it.

 

A day or two later Philip and Lawson gave their party. Cronshaw, making an exception in their favour, agreed to eat their food; and Miss Chalice¹⁵ offered to come and cook for them. She took no interest in her own sex and declined the suggestion that other girls should be asked for her sake. Clutton, Flanagan, Potter, and two others made up the party. Furniture was scarce, so the model stand was used as a table, and the guests were to sit on portmanteaux if they liked, and if they didn't on the floor. The feast consisted of a pot-au-feu, which Miss Chalice had made, of a leg of mutton roasted round the corner and brought round hot and savoury (Miss Chalice had cooked the potatoes, and the studio was redolent of the carrots she had fried; fried carrots were her specialty); and this was to be followed by poires flambees, pears with burning brandy, which Cronshaw had volunteered to make. The meal was to finish with an enormous fromage de Brie, which stood near the window and added fragrant¹⁶ odours to all the others which filled the studio. Cronshaw sat in the place of honour on a Gladstone bag, with his legs curled under him like a Turkish bashaw, beaming good-naturedly on the young people who surrounded him. From force of habit, though the small studio with the stove lit was very hot, he kept on his great-coat, with the collar turned up, and his bowler¹⁷ hat: he looked with satisfaction on the four large fiaschi of Chianti which stood in front of him in a row, two on each side of a bottle of whiskey; he said it reminded him of a slim fair Circassian guarded by four corpulent eunuchs. Hayward in order to put the rest of them at their ease had clothed himself in a tweed suit and a Trinity Hall tie. He looked grotesquely¹⁸ British. The others were elaborately polite to him, and during the soup they talked of the weather and the political situation. There was a pause while they waited for the leg of mutton, and Miss Chalice lit a cigarette.

 

'Rapunzel, Rapunzel, let down your hair,' she said suddenly.

 

With an elegant gesture she untied¹⁹ a ribbon so that her tresses fell over her shoulders. She shook her head.

 

'I always feel more comfortable with my hair down.'

 

With her large brown eyes, thin, ascetic²⁰ face, her pale skin, and broad forehead, she might have stepped out of a picture by Burne-Jones. She had long, beautiful hands, with fingers deeply stained by nicotine²¹. She wore sweeping²² draperies, mauve and green. There was about her the romantic air of High Street, Kensington. She was wantonly aesthetic²³; but she was an excellent creature, kind and good natured; and her affectations were but skin-deep. There was a knock at the door, and they all gave a shout of exultation²⁴. Miss Chalice rose and opened. She took the leg of mutton and held it high above her, as though it were the head of John the Baptist on a platter; and, the cigarette still in her mouth, advanced with solemn, hieratic steps.

 

'Hail, daughter of Herodias,' cried Cronshaw.

 

The mutton was eaten with gusto, and it did one good to see what a hearty²⁵ appetite the pale-faced lady had. Clutton and Potter sat on each side of her, and everyone knew that neither had found her unduly²⁶ coy. She grew tired of most people in six weeks, but she knew exactly how to treat afterwards the gentlemen who had laid their young hearts at her feet. She bore them no ill-will, though having loved them she had ceased to do so, and treated them with friendliness²⁷ but without familiarity. Now and then she looked at Lawson with melancholy²⁸ eyes. The poires flambees were a great success, partly because of the brandy, and partly because Miss Chalice insisted that they should be eaten with the cheese.

 

'I don't know whether it's perfectly²⁹ delicious, or whether I'm just going to vomit,' she said, after she had thoroughly³⁰ tried the mixture.

 

Coffee and cognac followed with sufficient speed to prevent any untoward³¹ consequence, and they settled down to smoke in comfort. Ruth Chalice, who could do nothing that was not deliberately³² artistic³³, arranged herself in a graceful³⁴ attitude by Cronshaw and just rested her exquisite³⁵ head on his shoulder. She looked into the dark abyss of time with brooding eyes, and now and then with a long meditative³⁶ glance at Lawson she sighed deeply.

 

Then came the summer, and restlessness seized these young people. The blue skies lured³⁷ them to the sea, and the pleasant breeze sighing through the leaves of the plane-trees on the boulevard drew them towards the country. Everyone made plans for leaving Paris; they discussed what was the most suitable size for the canvases they meant to take; they laid in stores of panels for sketching³⁸; they argued about the merits of various places in Brittany. Flanagan and Potter went to Concarneau; Mrs. Otter and her mother, with a natural instinct for the obvious, went to Pont-Aven; Philip and Lawson made up their minds to go to the forest of Fontainebleau, and Miss Chalice knew of a very good hotel at Moret where there was lots of stuff to paint; it was near Paris, and neither Philip nor Lawson was indifferent to the railway fare. Ruth Chalice would be there, and Lawson had an idea for a portrait of her in the open air. Just then the Salon was full of portraits of people in gardens, in sunlight, with blinking eyes and green reflections of sunlit leaves on their faces. They asked Clutton to go with them, but he preferred spending the summer by himself. He had just discovered Cezanne, and was uger to go to Provence; he wanted heavy skies from which the hot blue seemed to drip like beads³⁹ of sweat, and broad white dusty roads, and pale roofs out of which the sun had burnt the colour, and olive trees gray with heat.

 

The day before they were to start, after the morning class, Philip, putting his things together, spoke⁴⁰ to Fanny Price.

 

'I'm off tomorrow,' he said cheerfully.

 

'Off where?' she said quickly. 'You're not going away?' Her face fell.

 

'I'm going away for the summer. Aren't you?'

 

'No, I'm staying in Paris. I thought you were going to stay too. I was looking forward....'

 

She stopped and shrugged⁴¹ her shoulders.

 

'But won't it be frightfully hot here? It's awfully⁴² bad for you.'

 

'Much you care if it's bad for me. Where are you going?'

 

'Moret.'

 

'Chalice is going there. You're not going with her?'

 

'Lawson and I are going. And she's going there too. I don't know that we're actually going together.'

 

She gave a low guttural sound, and her large face grew dark and red.

 

'How filthy⁴³! I thought you were a decent fellow. You were about the only one here. She's been with Clutton and Potter and Flanagan, even with old Foinet—that's why he takes so much trouble about her—and now two of you, you and Lawson. It makes me sick.'

 

'Oh, what nonsense! She's a very decent sort. One treats her just as if she were a man.'

 

'Oh, don't speak to me, don't speak to me.'

 

'But what can it matter to you?' asked Philip. 'It's really no business of yours where I spend my summer.'

 

'I was looking forward to it so much,' she gasped⁴⁴, speaking it seemed almost to herself. 'I didn't think you had the money to go away, and there wouldn't have been anyone else here, and we could have worked together, and we'd have gone to see things.' Then her thoughts flung back to Ruth Chalice. 'The filthy beast,' she cried. 'She isn't fit to speak to.'

 

Philip looked at her with a sinking heart. He was not a man to think girls were in love with him; he was too conscious of his deformity, and he felt awkward and clumsy with women; but he did not know what else this outburst could mean. Fanny Price, in the dirty brown dress, with her hair falling over her face, sloppy⁴⁵, untidy, stood before him; and tears of anger rolled down her cheeks. She was repellent. Philip glanced at the door, instinctively⁴⁶ hoping that someone would come in and put an end to the scene.

 

'I'm awfully sorry,' he said.

 

'You're just the same as all of them. You take all you can get, and you don't even say thank you. I've taught you everything you know. No one else would take any trouble with you. Has Foinet ever bothered about you? And I can tell you this—you can work here for a thousand years and you'll never do any good. You haven't got any talent. You haven't got any originality⁴⁷. And it's not only me—they all say it. You'll never be a painter as long as you live.'

 

'That is no business of yours either, is it?' said Philip, flushing.

 

'Oh, you think it's only my temper. Ask Clutton, ask Lawson, ask Chalice. Never, never, never. You haven't got it in you.'

 

Philip shrugged his shoulders and walked out. She shouted after him.

 

'Never, never, never.'

 

Moret was in those days an old-fashioned town of one street at the edge of the forest of Fontainebleau, and the Ecu d'Or was a hotel which still had about it the decrepit⁴⁸ air of the Ancien Regime. It faced the winding⁴⁹ river, the Loing; and Miss Chalice had a room with a little terrace overlooking it, with a charming view of the old bridge and its fortified⁵⁰ gateway⁵¹. They sat here in the evenings after dinner, drinking coffee, smoking, and discussing art. There ran into the river, a little way off, a narrow canal bordered by poplars, and along the banks of this after their day's work they often wandered. They spent all day painting. Like most of their generation they were obsessed⁵² by the fear of the picturesque⁵³, and they turned their backs on the obvious beauty of the town to seek subjects which were devoid⁵⁴ of a prettiness they despised. Sisley and Monet had painted the canal with its poplars, and they felt a desire to try their hands at what was so typical of France; but they were frightened of its formal beauty, and set themselves deliberately to avoid it. Miss Chalice, who had a clever dexterity⁵⁵ which impressed Lawson notwithstanding his contempt for feminine art, started a picture in which she tried to circumvent⁵⁷ the commonplace by leaving out the tops of the trees; and Lawson had the brilliant idea of putting in his foreground a large blue advertisement of chocolat Menier in order to emphasise⁵⁸ his abhorrence⁵⁹ of the chocolate box.

 

Philip began now to paint in oils. He experienced a thrill of delight when first he used that grateful medium. He went out with Lawson in the morning with his little box and sat by him painting a panel; it gave him so much satisfaction that he did not realise he was doing no more than copy; he was so much under his friend's influence that he saw only with his eyes. Lawson painted very low in tone, and they both saw the emerald of the grass like dark velvet⁶⁰, while the brilliance⁶¹ of the sky turned in their hands to a brooding ultramarine. Through July they had one fine day after another; it was very hot; and the heat, searing Philip's heart, filled him with languor⁶²; he could not work; his mind was eager with a thousand thoughts. Often he spent the mornings by the side of the canal in the shade of the poplars, reading a few lines and then dreaming for half an hour. Sometimes he hired a rickety bicycle and rode along the dusty road that led to the forest, and then lay down in a clearing. His head was full of romantic fancies. The ladies of Watteau, gay and insouciant⁶³, seemed to wander with their cavaliers among the great trees, whispering to one another careless, charming things, and yet somehow oppressed by a nameless fear.

 

They were alone in the hotel but for a fat Frenchwoman of middle age, a Rabelaisian figure with a broad, obscene laugh. She spent the day by the river patiently fishing for fish she never caught, and Philip sometimes went down and talked to her. He found out that she had belonged to a profession whose most notorious member for our generation was Mrs. Warren, and having made a competence⁶⁴ she now lived the quiet life of the bourgeoise. She told Philip lewd⁶⁵ stories.

 

'You must go to Seville,' she said—she spoke a little broken English. 'The most beautiful women in the world.'

 

She leered and nodded her head. Her triple chin, her large belly⁶⁶, shook with inward laughter.

 

It grew so hot that it was almost impossible to sleep at night. The heat seemed to linger under the trees as though it were a material thing. They did not wish to leave the starlit night, and the three of them would sit on the terrace of Ruth Chalice's room, silent, hour after hour, too tired to talk any more, but in voluptuous⁶⁷ enjoyment⁶⁸ of the stillness. They listened to the murmur⁶⁹ of the river. The church clock struck one and two and sometimes three before they could drag themselves to bed. Suddenly Philip became aware that Ruth Chalice and Lawson were lovers. He divined it in the way the girl looked at the young painter, and in his air of possession; and as Philip sat with them he felt a kind of effluence surrounding them, as though the air were heavy with something strange. The revelation was a shock. He had looked upon Miss Chalice as a very good fellow and he liked to talk to her, but it had never seemed to him possible to enter into a closer relationship. One Sunday they had all gone with a tea-basket into the forest, and when they came to a glade⁷⁰ which was suitably sylvan⁷¹, Miss Chalice, because it was idyllic⁷², insisted on taking off her shoes and stockings. It would have been very charming only her feet were rather large and she had on both a large corn on the third toe. Philip felt it made her proceeding⁷³ a little ridiculous. But now he looked upon her quite differently; there was something softly feminine in her large eyes and her olive skin; he felt himself a fool not to have seen that she was attractive. He thought he detected in her a touch of contempt for him, because he had not had the sense to see that she was there, in his way, and in Lawson a suspicion of superiority. He was envious⁷⁴ of Lawson, and he was jealous, not of the individual concerned, but of his love. He wished that he was standing⁵⁶ in his shoes and feeling with his heart. He was troubled, and the fear seized him that love would pass him by. He wanted a passion to seize him, he wanted to be swept off his feet and borne powerless in a mighty⁷⁵ rush he cared not whither. Miss Chalice and Lawson seemed to him now somehow different, and the constant companionship with them made him restless. He was dissatisfied with himself. Life was not giving him what he wanted, and he had an uneasy feeling that he was losing his time.

 

The stout⁷⁶ Frenchwoman soon guessed what the relations were between the couple, and talked of the matter to Philip with the utmost frankness.

 

'And you,' she said, with the tolerant smile of one who had fattened⁷⁷ on the lust⁷⁸ of her fellows, 'have you got a petite amie?'

 

'No,' said Philip, blushing.

 

'And why not? C'est de votre age.'

 

He shrugged his shoulders. He had a volume of Verlaine in his hands, and he wandered off. He tried to read, but his passion was too strong. He thought of the stray amours to which he had been introduced by Flanagan, the sly visits to houses in a cul-de-sac, with the drawing-room in Utrecht velvet, and the mercenary graces of painted women. He shuddered⁷⁹. He threw himself on the grass, stretching his limbs like a young animal freshly awaked from sleep; and the rippling⁸⁰ water, the poplars gently tremulous in the faint breeze, the blue sky, were almost more than he could bear. He was in love with love. In his fancy he felt the kiss of warm lips on his, and around his neck the touch of soft hands. He imagined himself in the arms of Ruth Chalice, he thought of her dark eyes and the wonderful texture⁸¹ of her skin; he was mad to have let such a wonderful adventure slip through his fingers. And if Lawson had done it why should not he? But this was only when he did not see her, when he lay awake at night or dreamed idly by the side of the canal; when he saw her he felt suddenly quite different; he had no desire to take her in his arms, and he could not imagine himself kissing her. It was very curious. Away from her he thought her beautiful, remembering only her magnificent eyes and the creamy pallor of her face; but when he was with her he saw only that she was flat-chested and that her teeth were slightly decayed; he could not forget the corns on her toes. He could not understand himself. Would he always love only in absence and be prevented from enjoying anything when he had the chance by that deformity of vision which seemed to exaggerate the revolting?

 

He was not sorry when a change in the weather, announcing the definite end of the long summer, drove them all back to Paris.

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