It was a drama of small smothered intensely private things, and I knew of
but one other person in the secret; yet that person and I found it
exquisitely susceptible of notation, followed it with an interest the
mutual communication of which did much for our enjoyment, and were
present with emotion at its touching catastrophe. The small case--for so
small a case--had made a great stride even before my little party
separated, and in fact within the next ten minutes.
In that space of time two things had happened one of which was that I
made the acquaintance of Mrs. Brash; and the other that Mrs. Munden
reached me, cleaving the crowd, with one of her usual pieces of news.
What she had to impart was that, on her having just before asked Nina if
the conditions of our sitting had been arranged with me, Nina had
replied, with something like perversity, that she didn't propose to
arrange them, that the whole affair was "off" again and that she
preferred not to be further beset for the present. The question for Mrs.
Munden was naturally what had happened and whether I understood. Oh I
understood perfectly, and what I at first most understood was that even
when I had brought in the name of Mrs. Brash intelligence wasn't yet in
Mrs. Munden. She was quite as surprised as Lady Beldonald had been on
hearing of the esteem in which I held Mrs. Brash's appearance. She was
stupefied at learning that I had just in my ardour proposed to its
proprietress to sit to me. Only she came round promptly--which Lady
Beldonald really never did. Mrs. Munden was in fact wonderful; for when
I had given her quickly "Why she's a Holbein, you know, absolutely," she
took it up, after a first fine vacancy, with an immediate abysmal "Oh
_is_ she?" that, as a piece of social gymnastics, did her the greatest
honour; and she was in fact the first in London to spread the tidings.
For a face--about it was magnificent. But she was also the first, I must
add, to see what would really happen--though this she put before me only
a week or two later. "It will kill her, my dear--that's what it will
do!"
She meant neither more nor less than that it would kill Lady Beldonald if
I were to paint Mrs. Brash; for at this lurid light had we arrived in so
short a space of time. It was for me to decide whether my aesthetic need
of giving life to my idea was such as to justify me in destroying it in a
woman after all in most eyes so beautiful. The situation was indeed
sufficiently queer; for it remained to be seen what I should positively
gain by giving up Mrs. Brash. I appeared to have in any case lost Lady
Beldonald, now too "upset"--it was always Mrs. Munden's word about her
and, as I inferred, her own about herself--to meet me again on our
previous footing. The only thing, I of course soon saw, was to temporise
to drop the whole question for the present and yet so far as possible
keep each of the pair in view. I may as well say at once that this plan
and this process gave their principal interest to the next several
months. Mrs. Brash had turned up, if I remember, early in the new year,
and her little wonderful career was in our particular circle one of the
features of the following season. It was at all events for myself the
most attaching; it's not my fault if I am so put together as often to
find more life in situations obscure and subject to interpretation than
in the gross rattle of the foreground. And there were all sorts of
things, things touching, amusing, mystifying--and above all such an
instance as I had never yet met--in this funny little fortune of the
useful American cousin. Mrs. Munden was promptly at one with me as to
the rarity and, to a near and human view, the beauty and interest of the
position. We had neither of us ever before seen that degree and that
special sort of personal success come to a woman for the first time so
late in life. I found it an example of poetic, of absolutely retributive
justice; so that my desire grew great to work it, as we say, on those
lines. I had seen it all from the original moment at my studio; the poor
lady had never known an hour's appreciation--which moreover, in perfect
good faith, she had never missed. The very first thing I did after
inducing so unintentionally the resentful retreat of her protectress had
been to go straight over to her and say almost without preliminaries that
I should hold myself immeasurably obliged for a few patient sittings.
What I thus came face to face with was, on the instant, her whole
unenlightened past and the full, if foreshortened, revelation of what
among us all was now unfailingly in store for her. To turn the handle
and start that tune came to me on the spot as a temptation. Here was a
poor lady who had waited for the approach of old age to find out what she
was worth. Here was a benighted being to whom it was to be disclosed in
her fifty-seventh year--I was to make that out--that she had something
that might pass for a face. She looked much more than her age, and was
fairly frightened--as if I had been trying on her some possibly heartless
London trick--when she had taken in my appeal. That showed me in what an
air she had lived and--as I should have been tempted to put it had I
spoken out--among what children of darkness. Later on I did them more
justice; saw more that her wonderful points must have been points largely
the fruit of time, and even that possibly she might never in all her life
have looked so well as at this particular moment. It might have been
that if her hour had struck I just happened to be present at the
striking. What had occurred, all the same, was at the worst a notable
comedy.
The famous "irony of fate" takes many forms, but I had never yet seen it
take quite this one. She had been "had over" on an understanding, and
she wasn't playing fair. She had broken the law of her ugliness and had
turned beautiful on the hands of her employer. More interesting even
perhaps than a view of the conscious triumph that this might prepare for
her, and of which, had I doubted of my own judgement, I could still take
Outreau's fine start as the full guarantee--more interesting was the
question of the process by which such a history could get itself enacted.
The curious thing was that all the while the reasons of her having passed
for plain--the reasons for Lady Beldonald's fond calculation, which they
quite justified--were written large in her face, so large that it was
easy to understand them as the only ones she herself had ever read. What
was it then that actually made the old stale sentence mean something so
different?--into what new combinations, what extraordinary language,
unknown but understood at a glance, had time and life translated it? The
only thing to be said was that time and life were artists who beat us
all, working with recipes and secrets we could never find out. I really
ought to have, like a lecturer or a showman, a chart or a blackboard to
present properly the relation, in the wonderful old tender battered
blanched face, between the original elements and the exquisite final
"style." I could do it with chalks, but I can scarcely do it with words.
However, the thing was, for any artist who respected himself, to _feel_
it--which I abundantly did; and then not to conceal from _her_ I felt
it--which I neglected as little. But she was really, to do her complete
justice, the last to understand; and I'm not sure that, to the end--for
there was an end--she quite made it all out or knew where she was. When
you've been brought up for fifty years on black it must be hard to adjust
your organism at a day's notice to gold-colour. Her whole nature had
been pitched in the key of her supposed plainness. She had known how to
be ugly--it was the only thing she had learnt save, if possible, how not
to mind it. Being beautiful took in any case a new set of muscles. It
was on the prior conviction, literally, that she had developed her
admirable dress, instinctively felicitous, always either black or white
and a matter of rather severe squareness and studied line. She was
magnificently neat; everything she showed had a way of looking both old
and fresh; and there was on every occasion the same picture in her draped
head--draped in low-falling black--and the fine white plaits (of a
painter's white, somehow) disposed on her chest. What had happened was
that these arrangements, determined by certain considerations, lent
themselves in effect much better to certain others. Adopted in mere shy
silence they had really only deepened her accent. It was singular,
moreover, that, so constituted, there was nothing in her aspect of the
ascetic or the nun. She was a good hard sixteenth-century figure, not
withered with innocence, bleached rather by life in the open. She was in
short just what we had made of her, a Holbein for a great Museum; and our
position, Mrs. Munden's and mine, rapidly became that of persons having
such a treasure to dispose of. The world--I speak of course mainly of
the art-world--flocked to see it.