Kensington, _July_ 1886.
1
That sketch up there with the boy's cap? Yes; that's the same woman. I
wonder whether you could guess who she was. A singular being, is she not?
The most marvellous creature, quite, that I have ever met: a wonderful
elegance, exotic, far-fetched, poignant; an artificial perverse sort of
grace and research in every outline and movement and arrangement of head
and neck, and hands and fingers. Here are a lot of pencil sketches I made
while I was preparing to paint her portrait. Yes; there's nothing but her
in the whole sketchbook. Mere scratches, but they may give some idea of her
marvellous, fantastic kind of grace. Here she is leaning over the
staircase, and here sitting in the swing. Here she is walking quickly out
of the room. That's her head. You see she isn't really handsome; her
forehead is too big, and her nose too short. This gives no idea of her. It
was altogether a question of movement. Look at the strange cheeks, hollow
and rather flat; well, when she smiled she had the most marvellous dimples
here. There was something exquisite and uncanny about it. Yes; I began the
picture, but it was never finished. I did the husband first. I wonder who
has his likeness now? Help me to move these pictures away from the wall.
Thanks. This is her portrait; a huge wreck. I don't suppose you can make
much of it; it is merely blocked in, and seems quite mad. You see my idea
was to make her leaning against a wall--there was one hung with yellow that
seemed almost brown--so as to bring out the silhouette.
It was very singular I should have chosen that particular wall. It does
look rather insane in this condition, but I like it; it has something of
her. I would frame it and hang it up, only people would ask questions. Yes;
you have guessed quite right--it is Mrs. Oke of Okehurst. I forgot you had
relations in that part of the country; besides, I suppose the newspapers
were full of it at the time. You didn't know that it all took place under
my eyes? I can scarcely believe now that it did: it all seems so distant,
vivid but unreal, like a thing of my own invention. It really was much
stranger than any one guessed. People could no more understand it than they
could understand her. I doubt whether any one ever understood Alice Oke
besides myself. You mustn't think me unfeeling. She was a marvellous,
weird, exquisite creature, but one couldn't feel sorry for her. I felt much
sorrier for the wretched creature of a husband. It seemed such an
appropriate end for her; I fancy she would have liked it could she have
known. Ah! I shall never have another chance of painting such a portrait as
I wanted. She seemed sent me from heaven or the other place. You have never
heard the story in detail? Well, I don't usually mention it, because people
are so brutally stupid or sentimental; but I'll tell it you. Let me see.
It's too dark to paint any more today, so I can tell it you now. Wait; I
must turn her face to the wall. Ah, she was a marvellous creature!
2
You remember, three years ago, my telling you I had let myself in for
painting a couple of Kentish squireen? I really could not understand what
had possessed me to say yes to that man. A friend of mine had brought him
one day to my studio--Mr. Oke of Okehurst, that was the name on his card.
He was a very tall, very well-made, very good-looking young man, with a
beautiful fair complexion, beautiful fair moustache, and beautifully
fitting clothes; absolutely like a hundred other young men you can see any
day in the Park, and absolutely uninteresting from the crown of his head to
the tip of his boots. Mr. Oke, who had been a lieutenant in the Blues
before his marriage, was evidently extremely uncomfortable on finding
himself in a studio. He felt misgivings about a man who could wear a velvet
coat in town, but at the same time he was nervously anxious not to treat me
in the very least like a tradesman. He walked round my place, looked at
everything with the most scrupulous attention, stammered out a few
complimentary phrases, and then, looking at his friend for assistance,
tried to come to the point, but failed. The point, which the friend kindly
explained, was that Mr. Oke was desirous to know whether my engagements
would allow of my painting him and his wife, and what my terms would be.
The poor man blushed perfectly crimson during this explanation, as if he
had come with the most improper proposal; and I noticed--the only
interesting thing about him--a very odd nervous frown between his eyebrows,
a perfect double gash,--a thing which usually means something abnormal: a
mad-doctor of my acquaintance calls it the maniac-frown. When I had
answered, he suddenly burst out into rather confused explanations: his
wife--Mrs. Oke--had seen some of my--pictures--paintings--portraits--at
the--the--what d'you call it?--Academy. She had--in short, they had made a
very great impression upon her. Mrs. Oke had a great taste for art; she
was, in short, extremely desirous of having her portrait and his painted by
me, _etcetera_.
"My wife," he suddenly added, "is a remarkable woman. I don't know whether
you will think her handsome,--she isn't exactly, you know. But she's
awfully strange," and Mr. Oke of Okehurst gave a little sigh and frowned
that curious frown, as if so long a speech and so decided an expression of
opinion had cost him a great deal.
It was a rather unfortunate moment in my career. A very influential sitter
of mine--you remember the fat lady with the crimson curtain behind
her?--had come to the conclusion or been persuaded that I had painted her
old and vulgar, which, in fact, she was. Her whole clique had turned
against me, the newspapers had taken up the matter, and for the moment I
was considered as a painter to whose brushes no woman would trust her
reputation. Things were going badly. So I snapped but too gladly at Mr.
Oke's offer, and settled to go down to Okehurst at the end of a fortnight.
But the door had scarcely closed upon my future sitter when I began to
regret my rashness; and my disgust at the thought of wasting a whole summer
upon the portrait of a totally uninteresting Kentish squire, and his
doubtless equally uninteresting wife, grew greater and greater as the time
for execution approached. I remember so well the frightful temper in which
I got into the train for Kent, and the even more frightful temper in which
I got out of it at the little station nearest to Okehurst. It was pouring
floods. I felt a comfortable fury at the thought that my canvases would get
nicely wetted before Mr. Oke's coachman had packed them on the top of the
waggonette. It was just what served me right for coming to this confounded
place to paint these confounded people. We drove off in the steady
downpour. The roads were a mass of yellow mud; the endless flat
grazing-grounds under the oak-trees, after having been burnt to cinders in
a long drought, were turned into a hideous brown sop; the country seemed
intolerably monotonous.
My spirits sank lower and lower. I began to meditate upon the modern Gothic
country-house, with the usual amount of Morris furniture, Liberty rugs, and
Mudie novels, to which I was doubtless being taken. My fancy pictured very
vividly the five or six little Okes--that man certainly must have at least
five children--the aunts, and sisters-in-law, and cousins; the eternal
routine of afternoon tea and lawn-tennis; above all, it pictured Mrs. Oke,
the bouncing, well-informed, model housekeeper, electioneering,
charity-organising young lady, whom such an individual as Mr. Oke would
regard in the light of a remarkable woman. And my spirit sank within me,
and I cursed my avarice in accepting the commission, my spiritlessness in
not throwing it over while yet there was time. We had meanwhile driven into
a large park, or rather a long succession of grazing-grounds, dotted about
with large oaks, under which the sheep were huddled together for shelter
from the rain. In the distance, blurred by the sheets of rain, was a line
of low hills, with a jagged fringe of bluish firs and a solitary windmill.
It must be a good mile and a half since we had passed a house, and there
was none to be seen in the distance--nothing but the undulation of sere
grass, sopped brown beneath the huge blackish oak-trees, and whence arose,
from all sides, a vague disconsolate bleating. At last the road made a
sudden bend, and disclosed what was evidently the home of my sitter. It
was not what I had expected. In a dip in the ground a large red-brick
house, with the rounded gables and high chimney-stacks of the time of
James I.,--a forlorn, vast place, set in the midst of the pasture-land,
with no trace of garden before it, and only a few large trees indicating
the possibility of one to the back; no lawn either, but on the other side
of the sandy dip, which suggested a filled-up moat, a huge oak, short,
hollow, with wreathing, blasted, black branches, upon which only a handful
of leaves shook in the rain. It was not at all what I had pictured to
myself the home of Mr. Oke of Okehurst.
My host received me in the hall, a large place, panelled and carved, hung
round with portraits up to its curious ceiling--vaulted and ribbed like the
inside of a ship's hull. He looked even more blond and pink and white, more
absolutely mediocre in his tweed suit; and also, I thought, even more
good-natured and duller. He took me into his study, a room hung round with
whips and fishing-tackle in place of books, while my things were being
carried upstairs. It was very damp, and a fire was smouldering. He gave the
embers a nervous kick with his foot, and said, as he offered me a cigar--
"You must excuse my not introducing you at once to Mrs. Oke. My wife--in
short, I believe my wife is asleep."
"Is Mrs. Oke unwell?" I asked, a sudden hope flashing across me that I
might be off the whole matter.
"Oh no! Alice is quite well; at least, quite as well as she usually is. My
wife," he added, after a minute, and in a very decided tone, "does not
enjoy very good health--a nervous constitution. Oh no! not at all ill,
nothing at all serious, you know. Only nervous, the doctors say; mustn't be
worried or excited, the doctors say; requires lots of repose,--that sort
of thing."
There was a dead pause. This man depressed me, I knew not why. He had a
listless, puzzled look, very much out of keeping with his evident admirable
health and strength.
"I suppose you are a great sportsman?" I asked from sheer despair, nodding
in the direction of the whips and guns and fishing-rods.
"Oh no! not now. I was once. I have given up all that," he answered,
standing with his back to the fire, and staring at the polar bear beneath
his feet. "I--I have no time for all that now," he added, as if an
explanation were due. "A married man--you know. Would you like to come up
to your rooms?" he suddenly interrupted himself. "I have had one arranged
for you to paint in. My wife said you would prefer a north light. If that
one doesn't suit, you can have your choice of any other."
I followed him out of the study, through the vast entrance-hall. In less
than a minute I was no longer thinking of Mr. and Mrs. Oke and the boredom
of doing their likeness; I was simply overcome by the beauty of this house,
which I had pictured modern and philistine. It was, without exception, the
most perfect example of an old English manor-house that I had ever seen;
the most magnificent intrinsically, and the most admirably preserved. Out
of the huge hall, with its immense fireplace of delicately carved and
inlaid grey and black stone, and its rows of family portraits, reaching
from the wainscoting to the oaken ceiling, vaulted and ribbed like a ship's
hull, opened the wide, flat-stepped staircase, the parapet surmounted at
intervals by heraldic monsters, the wall covered with oak carvings of
coats-of-arms, leafage, and little mythological scenes, painted a faded red
and blue, and picked out with tarnished gold, which harmonised with the
tarnished blue and gold of the stamped leather that reached to the oak
cornice, again delicately tinted and gilded. The beautifully damascened
suits of court armour looked, without being at all rusty, as if no modern
hand had ever touched them; the very rugs under foot were of
sixteenth-century Persian make; the only things of to-day were the big
bunches of flowers and ferns, arranged in majolica dishes upon the
landings. Everything was perfectly silent; only from below came the chimes,
silvery like an Italian palace fountain, of an old-fashioned clock.
It seemed to me that I was being led through the palace of the Sleeping
Beauty.
"What a magnificent house!" I exclaimed as I followed my host through a
long corridor, also hung with leather, wainscoted with carvings, and
furnished with big wedding coffers, and chairs that looked as if they came
out of some Vandyck portrait. In my mind was the strong impression that all
this was natural, spontaneous--that it had about it nothing of the
picturesqueness which swell studios have taught to rich and aesthetic
houses. Mr. Oke misunderstood me.
"It is a nice old place," he said, "but it's too large for us. You see, my
wife's health does not allow of our having many guests; and there are no
children."
I thought I noticed a vague complaint in his voice; and he evidently was
afraid there might have seemed something of the kind, for he added
immediately--
"I don't care for children one jackstraw, you know, myself; can't
understand how any one can, for my part."
If ever a man went out of his way to tell a lie, I said to myself, Mr. Oke
of Okehurst was doing so at the present moment.
When he had left me in one of the two enormous rooms that were allotted to
me, I threw myself into an arm-chair and tried to focus the extraordinary
imaginative impression which this house had given me.
I am very susceptible to such impressions; and besides the sort of spasm of
imaginative interest sometimes given to me by certain rare and eccentric
personalities, I know nothing more subduing than the charm, quieter and
less analytic, of any sort of complete and out-of-the-common-run sort of
house. To sit in a room like the one I was sitting in, with the figures of
the tapestry glimmering grey and lilac and purple in the twilight, the
great bed, columned and curtained, looming in the middle, and the embers
reddening beneath the overhanging mantelpiece of inlaid Italian stonework,
a vague scent of rose-leaves and spices, put into the china bowls by the
hands of ladies long since dead, while the clock downstairs sent up, every
now and then, its faint silvery tune of forgotten days, filled the
room;--to do this is a special kind of voluptuousness, peculiar and complex
and indescribable, like the half-drunkenness of opium or haschisch, and
which, to be conveyed to others in any sense as I feel it, would require a
genius, subtle and heady, like that of Baudelaire.
After I had dressed for dinner I resumed my place in the arm-chair, and
resumed also my reverie, letting all these impressions of the past--which
seemed faded like the figures in the arras, but still warm like the embers
in the fireplace, still sweet and subtle like the perfume of the dead
rose-leaves and broken spices in the china bowls--permeate me and go to my
head. Of Oke and Oke's wife I did not think; I seemed quite alone, isolated
from the world, separated from it in this exotic enjoyment.
Gradually the embers grew paler; the figures in the tapestry more shadowy;
the columned and curtained bed loomed out vaguer; the room seemed to fill
with greyness; and my eyes wandered to the mullioned bow-window, beyond
whose panes, between whose heavy stonework, stretched a greyish-brown
expanse of sore and sodden park grass, dotted with big oaks; while far off,
behind a jagged fringe of dark Scotch firs, the wet sky was suffused with
the blood-red of the sunset. Between the falling of the raindrops from the
ivy outside, there came, fainter or sharper, the recurring bleating of the
lambs separated from their mothers, a forlorn, quavering, eerie little cry.