‘Yes—’ said Vane, with trembling eagerness. ‘Get it back. I must see his face.’
He saw it next day on the shoulders of a living man – a tall, thick-set man, with dirty hands and a ready-made suit, who knocked at the gallery door, just as it was being closed. The same face, but not the same expression.
‘You were advertising for a head,’ said the man.
‘Yes,’ said Vane. ‘Come in,’ and he shut the door on the two of them.
‘Well, I ain’t a-goin’ to name no names, but a pal of mine come in here day before yesterday, and one of your blasted dolls had got my pal’s face – so he pinched it.’
‘Why?’ Vane softly asked.
‘Well, if a man ain’t got a right to his own chump, what has he got a right to? But he’ll let you have it back, but not for the fiver you offers. I take it if you offers five, you’ll give twenty. Say the word, and put it down in writing to prevent mistakes, and I guarantee you shall have the head.’
‘Yes,’ said Vane. ‘I shall have the head.’
He advanced on the other man, and now, for the first time, his own face showed plainly.
‘Great God,’ the man repeated, his hands held out as if to keep off something; and now he looked like the head that he had stolen. ‘My great God, it’s April Vane.’
‘Yes, you’d better call on your God. It’s April Vane,’ April Vane said, and came at him.
It must have been a couple of days later that Diehl strolled in at closing time with that member of the Syndicate who had felt so squeamish about the cut throat. The lights were low. There was no blaze to light up the picture, and the machine was silent that, in the day, roared and screamed in the very voice of fire.
‘So you’ve got the head all right; you remember I told you you would,’ said Mr Diehl, glancing at the corpse.
‘Yes,’ said April. ‘I’ve got the head – I remembered.’
Mr Diehl went into the enclosure, and the cinders crunched under his boots.
‘By Jove,’ he said, ‘you’re an artist, Vane. I say, Montague, look at the corpse, the thing you didn’t like – why, it’s the best of the lot. You’ve improved it, Vane, old chap. It’s just the old expression, but by George it’s more lifelike than ever. What is it? something in the lie of the body, I suppose. It’s just like life, isn’t it now, Monty?’
‘It is more like death,’ said Montague. ‘I don’t like it, and it’s stuffy in here and the place is as quiet as a churchyard. Come along out.’
‘You’re a schoolgirl, Montague, a silly schoolgirl! I believe you’re frightened of the thing.’ Mr Diehl kicked it contemptuously and without violence. ‘Good night, Vane. Why don’t you go to one of the Halls and have a gay evening? I’ll stand treat.’
‘You’re always kind,’ said Vane gratefully, ‘but all the evenings will be gay now. I have got the head. I remembered.’
The two members of the Great Fire Syndicate went out into the light of Regent Street.
‘Ugh,’ said Montague, ‘that place gives me the horrors.’
‘It’s jolly well meant to,’ said Diehl, taking out his cigar-case. ‘That corpse …’
‘It’s not canny,’ said Montague and he laughed, not quite easily. ‘Why, it makes me fancy … I say, what’s that on your boot? Good God, man, it’s blood, as the chap says in the story.’
‘Don’t talk rot,’ said Diehl. He did not see that his right foot had stained the pavement.
Montague stopped.
‘But – it is blood,’ he said.
THE EBONY FRAME
To be rich is a luxurious sensation – the more so when you have plumbed the depths of hard-up-ness as a Fleet Street hack, a picker-up of unconsidered pars, a reporter, an unappreciated journalist – all callings utterly inconsistent with one’s family feeling and one’s direct descent from the Dukes of Picardy.
When my Aunt Dorcas died and left me seven hundred a year and a furnished house in Chelsea, I felt that life had nothing left to offer except immediate possession of the legacy. Even Mildred Mayhew, whom I had hitherto regarded as my life’s light, became less luminous. I was not engaged to Mildred, but I lodged with her mother, and I sung duets with Mildred, and gave her gloves when it would run to it, which was seldom. She was a dear good girl, and I meant to marry her someday. It is very nice to feel that a good little woman is thinking of you – it helps you in your work – and it is pleasant to know she will say ‘Yes’ when you say ‘Will you?’
But, as I say, my legacy almost put Mildred out of my head, especially as she was staying with friends in the country just then.
Before the first gloss was off my new mourning I was seated in my aunt’s own armchair in front of the fire in the dining-room of my own house. My own house! It was grand, but rather lonely. I did think of Mildred just then.
The room was comfortably furnished with oak and leather. On the walls hung a few fairly good oil-paintings, but the space above the mantelpiece was disfigured by an exceedingly bad print, ‘The Trial of Lord William Russell’, framed in a dark frame. I got up to look at it. I had visited my aunt with dutiful regularity, but I never remembered seeing this frame before. It was not intended for a print, but for an oil-painting. It was of fine ebony, beautifully and curiously carved.
I looked at it with growing interest, and when my aunt’s housemaid – I had retained her modest staff of servants – came in with the lamp, I asked her how long the print had been there.
‘Mistress only bought it two days afore she was took ill,’ she said; ‘but the frame – she didn’t want to buy a new one – so she got this out of the attic. There’s lots of curious old things there, sir.’
‘Had my aunt had this frame long?’
‘Oh yes, sir. It come long afore I did, and I’ve been here seven years come Christmas. There was a picture in it – that’s upstairs too – but it’s that black and ugly it might as well be a chimley-back.’
I felt a desire to see this picture. What if it were some priceless old master in which my aunt’s eyes had only seen rubbish?
Directly after breakfast next morning I paid a visit to the lumber-room.
It was crammed with old furniture enough to stock a curiosity shop. All the house was furnished solidly in the early Victorian style, and in this room everything not in keeping with the ‘drawing-room suite’ ideal was stowed away. Tables of papier-mâché and mother-of-pearl, straight-backed chairs with twisted feet and faded needlework cushions, firescreens of old-world design, oak bureaux with brass handles, a little work-table with its faded moth-eaten silk flutings hanging in disconsolate shreds: on these and the dust that covered them blazed the full daylight as I drew up the blinds. I promised myself a good time in re-enshrining these household gods in my parlour, and promoting the Victorian suite to the attic. But at present my business was to find the picture as ‘black as the chimley-back’; and presently, behind a heap of hideous still-life studies, I found it.
Jane the housemaid identified it at once. I took it downstairs carefully and examined it. No subject, no colour were distinguishable. There was a splodge of a darker tint in the middle, but whether it was figure or tree or house no man could have told. It seemed to be painted on a very thick panel bound with leather. I decided to send it to one of those persons who pour on rotting family portraits the water of eternal youth – mere soap and water Mr Besant tells us it is; but even as I did so the thought occurred to me to try my own restorative hand at a corner of it.
My bath-sponge, soap, and nailbrush vigorously applied for a few seconds showed me that there was no picture to clean! Bare oak presented itself to my persevering brush. I tried the other side, Jane watching me with indulgent interest. The same result. Then the truth dawned on me. Why was the panel so thick? I tore off the leather binding, and the panel divided and fell to the ground in a cloud of dust. There were two pictures – they had been nailed face to face. I leaned them against the wall, and the next moment I was leaning against it myself.
&
nbsp; For one of the pictures was myself – a perfect portrait – no shade of expression or turn of feature wanting. Myself – in a Cavalier dress, ‘love-locks and all!’ When had this been done? And how, without my knowledge? Was this some whim of my aunt’s?
‘Lor’, sir!’ the shrill surprise of Jane at my elbow; ‘what a lovely photo it is! Was it a fancy ball, sir?’
‘Yes,’ I stammered. ‘I – I don’t think I want anything more now. You can go.’
She went; and I turned, still with my heart beating violently, to the other picture. This was a woman of the type of beauty beloved of Burne Jones and Rossetti – straight nose, low brows, full lips, thin hands, large deep luminous eyes. She wore a black velvet gown. It was a full-length portrait. Her arms rested on a table beside her, and her head on her hands; but her face was turned full forward, and her eyes met those of the spectator bewilderingly. On the table by her were compasses and instruments whose uses I did not know, books, a goblet, and a miscellaneous heap of papers and pens. I saw all this afterwards. I believe it was a quarter of an hour before I could turn my eyes away from hers. I have never seen any other eyes like hers. They appealed, as a child’s or a dog’s do; they commanded, as might those of an empress.
‘Shall I sweep up the dust, sir?’ Curiosity had brought Jane back. I acceded. I turned from her my portrait. I kept between her and the woman in the black velvet. When I was alone again I tore down ‘The Trial of Lord William Russell’, and I put the picture of the woman in its strong ebony frame.
Then I wrote to a frame-maker for a frame for my portrait. It had so long lived face to face with this beautiful witch that I had not the heart to banish it from her presence; from which it will be perceived that I am by nature a somewhat sentimental person.
The new frame came home, and I hung it opposite the fireplace. An exhaustive search among my aunt’s papers showed no explanation of the portrait of myself, no history of the portrait of the woman with the wonderful eyes. I only learned that all the old furniture together had come to my aunt at the death of my great-uncle, the head of the family; and I should have concluded that the resemblance was only a family one, if everyone who came in had not exclaimed at the ‘speaking likeness’. I adopted Jane’s ‘fancy ball’ explanation.
And there, one might suppose, the matter of the portraits ended. One might suppose it, that is, if there were not evidently a good deal more written here about it. However, to me, then, the matter seemed ended.
I went to see Mildred; I invited her and her mother to come and stay with me. I rather avoided glancing at the picture in the ebony frame. I could not forget, nor remember without singular emotion, the look in the eyes of that woman when mine first met them. I shrank from meeting that look again.
I reorganised the house somewhat, preparing for Mildred’s visit. I turned the dining-room into a drawing-room. I brought down much off the old-fashioned furniture, and, after a long day of arranging and re-arranging, I sat down before the fire, and, lying back in a pleasant languor, I idly raised my eyes to the picture. I met her dark, deep hazel eyes, and once more my gaze was held fixed as by a strong magic – the kind of fascination that keeps one sometimes staring for whole minutes into one’s own eyes in the glass. I gazed into her eyes, and felt my own dilate, pricked with a smart like the smart of tears.
‘I wish,’ I said, ‘oh, how I wish you were a woman, and not a picture! Come down! Ah, come down!’
I laughed at myself as I spoke; but even as I laughed I held out my arms.
I was not sleepy; I was not drunk. I was as wide awake and as sober as ever was a man in this world. And yet, as I held out my arms, I saw the eyes of the picture dilate, her lips tremble – if I were to be hanged for saying it, it is true. Her hands moved slightly, and a sort of flicker of a smile passed over her face.
I sprang to my feet. ‘This won’t do,’ I said, still aloud. ‘Firelight does play strange tricks. I’ll have the lamp.’
I pulled myself together and made for the bell. My hand was on it, when I heard a sound behind me, and turned – the bell still unrung. The fire had burned low, and the corners of the room were deeply shadowed; but, surely, there – behind the tall worked chair – was something darker than a shadow.
‘I must face this out,’ I said, ‘or I shall never be able to face myself again.’ I left the bell, I seized the poker, and battered the dull coals to a blaze. Then I stepped back resolutely, and looked up at the picture. The ebony frame was empty! From the shadow of the worked chair came a silken rustle, and out of the shadow the woman of the picture was coming – coming towards me.
I hope I shall never again know a moment of terror so blank and absolute. I could not have moved or spoken to save my life. Either all the known laws of nature were nothing, or I was mad. I stood trembling, but, I am thankful to remember, I stood still, while the black velvet gown swept across the hearthrug towards me.
Next moment a hand touched me – a hand soft, warm, and human – and a low voice said, ‘You called me. I am here.’
At that touch and that voice the world seemed to give a sort of bewildering half-turn. I hardly know how to express it, but at once it seemed not awful – not even unusual – for portraits to become flesh – only most natural, most right, most unspeakably fortunate.
I laid my hand on hers. I looked from her to my portrait. I could not see it in the firelight.
‘We are not strangers,’ I said.
‘Oh no, not strangers.’ Those luminous eyes were looking up into mine – those red lips were near me. With a passionate cry – a sense of having suddenly recovered life’s one great good, that had seemed wholly lost – I clasped her in my arms. She was no ghost – she was a woman – the only woman in the world.
‘How long,’ I said, ‘O love – how long since I lost you?’
She leaned back, hanging her full weight on the hands that were clasped behind my head.
‘How can I tell how long? There is no time in hell,’ she answered.
It was not a dream. Ah, no – there are no such dreams. I wish to God there could be. When in dreams do I see her eyes, hear her voice, feel her lips against my cheek, hold her hands to my lips, as I did that night – the supreme night of my life? At first we hardly spoke. It seemed enough:
… after long grief and pain,
To feel the arms of my true love
Round me once again.
It is very difficult to tell this story. There are no words to express the sense of glad reunion, the complete realisation of every hope and dream of a life, that came upon me as I sat with my hand in hers and looked into her eyes.
How could it have been a dream, when I left her sitting in the straight-backed chair, and went down to the kitchen to tell the maids I should want nothing more – that I was busy, and did not wish to be disturbed; when I fetched wood for the fire with my own hands, and, bringing it in, found her still sitting there – saw the little brown head turn as I entered, saw the love in her dear eyes; when I threw myself at her feet and blessed the day I was born, since life had given me this?
Not a thought of Mildred: all the other things in my life were a dream – this, its one splendid reality.
‘I am wondering,’ she said after a while, when we had made such cheer of each of the other as true lovers may after long parting – ‘I am wondering how much you remember of our past.’
‘I remember nothing,’ I said. ‘Oh, my dear lady, my dear sweetheart – I remember nothing but that I love you – that I have loved you all my life.’
‘You remember nothing – really nothing?’
‘Only that I am yours; that we have both suffered; that— Tell me, my mistress dear, all that you remember. Explain it all to me. Make me understand. And yet— No, I don’t want to understand. It is enough that we are together.’
If it was a dream, why have I never dreamed it again?
She leaned down towards me, her arm lay on my neck, and drew my head till it rested on her shoulder. ‘I am a g
host, I suppose,’ she said, laughing softly; and her laughter stirred memories which I just grasped at, and just missed. ‘But you and I know better, don’t we? I will tell you everything you have forgotten. We loved each other – ah! No, you have not forgotten that – and when you came back from the war we were to be married. Our pictures were painted before you went away. You know I was more learned than women of that day. Dear one, when you were gone they said I was a witch. They tried me. They said I should be burned. Just because I had looked at the stars and had gained more knowledge than they, they must needs bind me to a stake and let me be eaten by the fire. And you far away!’
Her whole body trembled and shrank. O love, what dream would have told me that my kisses would soothe even that memory?
‘The night before,’ she went on, ‘the devil did come to me. I was innocent before – you know it, don’t you? And even then my sin was for you – for you – because of the exceeding love I bore you. The devil came, and I sold my soul to eternal flame. But I got a good price. I got the right to come back, through my picture (if anyone looking at it wished for me), as long as my picture stayed in its ebony frame. That frame was not carved by man’s hand. I got the right to come back to you. Oh, my heart’s heart, and another thing I won, which you shall hear anon. They burned me for a witch, they made me suffer hell on earth. Those faces, all crowding round, the crackling wood and the smell of the smoke—’
‘O love! no more – no more.’
‘When my mother sat that night before my picture she wept, and cried, “Come back, my poor lost child!” And I went to her, with glad leaps of heart. Dear, she shrank from me, she fled, she shrieked and moaned of ghosts. She had our pictures covered from sight and put again in the ebony frame. She had promised me my picture should stay always there. Ah, through all these years your face was against mine.’
She paused.
‘But the man you loved?’
‘You came home. My picture was gone. They lied to you, and you married another woman; but some day I knew you would walk the world again and that I should find you.’