LITMIR.BIZ

      Published by Good Press, 2019

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      EAN 4057664563101

Table of Contents

       PROLOGUE

       PART I RAINHAM PARVA

       PART II SUTHERLAND PLACE

       PART III MORTLAKE ROAD

       PART IV PILLAR TO POST

       PART V THE CONSOLIDATION

       ENVOI

PROLOGUE

       Table of Contents

      I

      In an old number of Punch, under the heading "Society's New Pet: The Artist's Model," is to be found a drawing by Du Maurier, of which the descriptive text runs:

      "And how did you and Mr. Sopley come to quarrel, dear Miss Dragon?"

      "Well, your Grace, it was like this: I was sitting to him in a cestus for 'The Judgment of Paris,' when someone called as wished to see him most particular; so he said: 'Don't move, Miss Dragon, or you'll disturb the cestus.' 'Very good, sir,' I said, and off he went; and when he come back in an hour and a 'alf or so he said: 'You've moved, Miss Dragon!' 'I 'aven't!' I said. 'You 'ave!' he said. 'I 'aven't!' I said—and no more I 'adn't, your Grace. And with that I off with his cestus an' wished him good-morning, an' I never been near him since!"

      Du Maurier may or may not have been wrong about the newness of this craze of "Society's." If he was right, the Honourable Emily Scarisbrick becomes at once a pioneer. Let there be set down, here in the beginning, the plain facts of how, a good ten years before the indignant Miss Dragon "offed with" Mr. Sopley's cestus, the Honourable Emily found a way to bridge the gulf that lies between Bohemia and Mayfair.

      Except in the case of one person not yet born into these pages, the report that the lady had engaged herself, early in the year 1869, to "Mr. Buckley, her drawing-master," had only a short currency. It was probably devised by the Honourable Emily herself in order to soften the blow for her brother, Lord Moone. The real name of the man to whom she engaged herself was James Buckley Causton. Under this name he appears on the rolls of the 4th Dragoon Guards as a trooper in the years 1862–1867; and as "Buck" Causton he attained some celebrity when, in the last-named year, he vanquished one Piker Betteridge in the prize ring, in a battle which, beginning with gloves and ending with bare knuckles, lasted for nearly nine hours.

      For all we know, it may have been Miss Dragon's Mr. Sopley who, seeing the magnificent Buck in the ring, first put it into the ex-trooper's head to become an artists' model. However it was, an artists' model he did become, and, as such, the rage. No doubt Sopley, if it were he, would gladly have kept his discovery to himself; but a neck like a sycamore and a thorax capable of containing nine-hours-contest lungs cannot be hid when Academy time comes round. Sopley's measure was known. If Sopley painted an heroic picture it was certain he had had a hero as model. The Academy opens in May; before June was out Sopley's find was no longer his own. Sir Frederick Henson, the artist who moved so in the world that in him the tradition of the monarch who picked up the painter's brush for him might almost have been said to live again, saw Buck, marked Buck down as his own, and presently had sole possession of Buck.

      The Honourable Emily Scarisbrick already had possession of Sir Frederick. To be sure, it neither needed a Sir Frederick Henson to teach her the stippling of birds' eggs and the copying of castles for the albums of her friends, nor was the great Academician accustomed to stooping to the office of salaried drawing-master; but—the Honourable Emily was a Scarisbrick, of Mallard Bois.

      In Henson's studio the Honourable Emily first saw Buck Causton.

      To say that she fell in love with him would demand a definition of the term. Certainly she fell in something with him. Perhaps that something was the something that at the last thrusts baronies and Mallard Boises aside as hindrances to a design even larger than that in which they play so important a part; but we have nothing to do with large designs here. Call it what you will: something proper enough to legend, but of little enough propriety in a modern lady's life; a feeble echo of Romance, perhaps, but never itself to become Romance unless, of it or present scandal, it should prove the stronger. At any rate, it was a very different thing from anything she felt, or ever had felt, for Captain Cecil Chaffinger, of the White Hussars, her brother's nominee for her hand.

      It was a word dropped by the gallant Captain, himself a follower of the fancy, that led her to the discovery that the hero of some feat or other of extraordinary skill and endurance, and the young Ajax, all chest and grey eyes and brown curls, who did odd jobs about the studio in the intervals of posing for Henson's demigodlike canvases, were one and the same person. Her already throbbing pulse bounded. She herself was twenty-eight, a small, dark, febrile woman, given over to discontents based on nothing save on an irremediably spoiled childhood, and perhaps hankering after an indiscretion in the conviction that indiscretions were of two kinds—indiscretions, and the indiscretions of the Scarisbricks. Naturally she became conscious of a quickened interest in her art.

      The first indication that this interest passed beyond birds eggs and castles was that she began "Lessons in Drapery." If here for a few moments her story becomes a little technical, it may be none the less interesting on that account.

      The study of Drapery as Drapery has not much interest for anybody unless perhaps for a student of mechanics. For all that, it is, or then was, regarded by drawing-masters as a self-contained subject, to be tackled, ticked off, and thenceforward possessed. To the study of Drapery in this unrelated sense the Honourable Emily apparently inclined. Seeing her therefore, in this fundamental error, Sir Frederick, a master of Drapery, took from her the "copies" which had already supplanted the "copies" of castles in her portfolio, and good-humouredly began to tell her what she really wanted. What she really wanted, he said, was to rid her mind of the idea that folds existed for their own sake, and to endeavour to realise that their real significance lay in the thing enfolded. Miss Scarisbrick thanked him.

      So, at first from the lay figure, and then from Henson's model, she began to draw Drapery with special reference to the thing draped.

      About this time she gave Captain Chaffinger for an answer a "No" which he refused to take. His devotion, he said, forbade him. If by his devotion he meant his devotion to his creditors, his constancy remained at their service. In the meantime he was still able to pay his old debts by contracting new ones.

      The Honourable Emily's studies became diligent.

      There is little to be said about these things except that they do happen. A word now about Buck's attitude.

      Had the Honourable Emily's maid thrown herself at his head he would have known what to do. His sense of the holiness of social degrees would have received no shock. But the Honourable Emily, who could command her maid, could not command what in all probability her maid would not have had to ask twice

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