They went from the dressing-room to the boudoir, and through the boudoir into the antechamber, in which there were, as Alicia had said, about twenty valuable paintings, besides my lady’s portrait.
My lady’s portrait stood on an easel, covered with a green baize in the center of the octagonal chamber. It had been a fancy of the artist to paint her standing in this very room, and to make his background a faithful reproduction of the pictured walls. I am afraid the young man belonged to the pre-Raphaelite brotherhood, for he had spent a most unconscionable time upon the accessories of this picture—upon my lady’s crispy ringlets and the heavy folds of her crimson velvet dress.
The two young men looked at the paintings on the walls first, leaving this unfinished portrait for a bonne bouche.
By this time it was dark, the candle carried by Robert only making one nucleus of light as he moved about holding it before the pictures one by one. The broad, bare window looked out upon the pale sky, tinged with the last cold flicker of the twilight. The ivy rustled against the glass with the same ominous shiver as that which agitated every leaf in the garden, prophetic of the storm that was to come.
“There are our friend’s eternal white horses,” said Robert, standing beside a Wouvermans. “Nicholas Poussin—Salvator—ha—hum! Now for the portrait.”
He paused with his hand on the baize, and solemnly addressed his friend.
“George Talboys,” he said, “we have between us only one wax candle, a very inadequate light with which to look at a painting. Let me, therefore, request that you will suffer us to look at it one at a time; if there is one thing more disagreeable than another, it is to have a person dodging behind your back and peering over your shoulder, when you’re trying to see what a picture’s made of.”
George fell back immediately. He took no more interest in any lady’s picture than in all the other wearinesses of this troublesome world. He fell back, and leaning his forehead against the windowpanes, looked out at the night.
When he turned round he saw that Robert had arranged the easel very conveniently, and that he had seated himself on a chair before it for the purpose of contemplating the painting at his leisure.
He rose as George turned round.
“Now, then, for your turn, Talboys,” he said. “It’s an extraordinary picture.”
He took George’s place at the window, and George seated himself in the chair before the easel.
Yes, the painter must have been a pre-Raphaelite. No one but a pre-Raphaelite would have painted, hair by hair, those feathery masses of ringlets, with every glimmer of gold, and every shadow of pale brown. No one but a pre-Raphaelite would have so exaggerated every attribute of that delicate face as to give a lurid brightness to the blonde complexion, and a strange, sinister light to the deep blue eyes. No one but a pre-Raphaelite could have given to that pretty pouting mouth the hard and almost wicked look it had in the portrait.
It was so like, and yet so unlike. It was as if you had burned strange-colored fires before my lady’s face, and by their influence brought out new lines and new expressions never seen in it before. The perfection of feature, the brilliancy of coloring, were there; but I suppose the painter had copied quaint medieval monstrosities until his brain had grown bewildered, for my lady, in his portrait of her, had something of the aspect of a beautiful fiend.
Her crimson dress, exaggerated like all the rest in this strange picture, hung about her in folds that looked like flames, her fair head peeping out of the lurid mass of color as if out of a raging furnace. Indeed the crimson dress, the sunshine on the face, the red gold gleaming in the yellow hair, the ripe scarlet of the pouting lips, the glowing colors of each accessory of the minutely painted background, all combined to render the first effect of the painting by no means an agreeable one.
But strange as the picture was, it could not have made any great impression on George Talboys, for he sat before it for about a quarter of an hour without uttering a word—only staring blankly at the painted canvas, with the candlestick grasped in his strong right hand, and his left arm hanging loosely by his side. He sat so long in this attitude, that Robert turned round at last.
“Why, George, I thought you had gone to sleep!”
“I had almost.”
“You’ve caught a cold from standing in that damp tapestried room. Mark my words, George Talboys, you’ve caught a cold; you’re as hoarse as a raven. But come along.”
Robert Audley took the candle from his friend’s hand, and crept back through the secret passage, followed by George—very quiet, but scarcely more quiet than usual.
They found Alicia in the nursery waiting for them.
“Well?” she said, interrogatively.
“We managed it capitally. But I don’t like the portrait; there’s something odd about it.”
“There is,” said Alicia; “I’ve a strange fancy on that point. I think that sometimes a painter is in a manner inspired, and is able to see, through the normal expression of the face, another expression that is equally a part of it, though not to be perceived by common eyes. We have never seen my lady look as she does in that picture; but I think that she could look so.”
“Alicia,” said Robert Audley, imploringly, “don’t be German!”
“But, Robert—”
“Don’t be German, Alicia, if you love me. The picture is—the picture: and my lady is—my lady. That’s my way of taking things, and I’m not metaphysical; don’t unsettle me.”
He repeated this several times with an air of terror that was perfectly sincere; and then, having borrowed an umbrella in case of being overtaken by the coming storm, left the Court, leading passive George Talboys away with him. The one hand of the stupid clock
