Chapter 8

At the dessert, Morrison himself spoke a few words. The little speech came brusquely from him, and no one who knew his rapacity for the beautiful could doubt his faith in the universal superlatives he now advocated. Our art, he held, must weigh with our mills and railroads, else our life is out of balance. We never grudged millions to burrow beneath New York for light, or for drink or speed, why then should we grudge them for the beautiful inutilities that might make the surface of the city splendid. A craving for fine objects was his own dearest emotion, he wanted to see cities, states, and the nation ready to spend with equal fervour. It all came apparently to a matter of spending. Morrison entertained no doubt that an imperious demand would create an abundant supply of what he called the best art. Whether we were to transport bodily the great monuments of Europe to America, or merely were to supply beauty off our indigenous bat, was not clear from Morrison's address, and possibly was not wholly so in his own mind. But the talk was solid and forceful, and I could hear Vogelstein grunt with inward joy when he contemplated the city, the state, and the nation in their predicted rôle as customers. I too felt that a real if an incoherent voice had spoken, and that if civic art were indeed to come, it would be through such neo-Roman visionaries as Morrison.

Then the mood changed and a willowy, hirsute, and earnest reviver of tapestry weaving rose and pleaded for the "City Beautiful," castigating the Philistine the while, and looking forward to a time when "the pomp, and chronicle of our time should be splendidly committed to illumined window and pictured wall," with some slight allusion to "those ancient webs through which the Middle Ages still speak glowingly to us."

About midway in the speech Morrison, who had another public dinner down the avenue slipped away. As he nodded "See you later perhaps" I marked the adoring eye and smile of Vogelstein, and then the great folds settled back into their places about his mouth and my neighbour once more gave an uneasy attention to the weaver of beautiful phrases, meanwhile drinking repeated glasses of burgundy. Soon his huge form heaved with an inarticulate discontent, and as the speaker sat down amid perfunctory applause Vogelstein snorted twice into the air.

"It is rather absurd, as you say," I ventured.

"It's sickening," wheezed Vogelstein. "Why can't he sell his tapestries without all that talk?"

"Oh, he enjoys the talk and probably believes it, and you and I do better after all to hear his talk than to see his tapestries." A mastodonic chuckle welcomed this mild sally. The burgundy was taking effect.

As the diners rose stiffly or alertly, according to their several grades of repletion, Vogelstein attached himself to me almost affectionately. "Do stop in the café and talk to me," he urged. "It's queer, here are a lot of my customers, some of my artists, besides you literary chaps, and except Morrison, nobody wants to talk to me. Morrison and I, we understand each other. It's early yet. Come along with me and talk. I've wanted to talk to you for a long time, but always was too busy in my place. You see you writers don't buy, in fact those that know almost never do. It's really queer."

Knowing the might of burgundy when a due foundation of champagne has been laid, I hardly took this effusion as personal to myself, but I also saw no reason, too, why I should not profit by the occasion. "I'll gladly chat with you, Mr. Vogelstein," I answered, "but you must let me choose the subject. We will talk about the Balaklava Coronal."

As he led me into the elevator by the arm he whispered "All right, Old Man, but why? You know just as much as I about it."

There was no chance to reply until he had selected his table and ordered two Scotches and soda. "Yes, I know something about it," I said at last; "everyone does apparently except Morrison. I know that Sarafoff made the Coronal, but I don't know who taught him how to make it, nor yet how Morrison was idiot enough to buy it, when anybody could have told him what it was, nor yet how Brush came to let it be sold. These are the interesting parts of the story, and I'll drink no drink of yours unless you tell."

At the mention of idiocy in connection with Morrison Vogelstein shuddered and raised a massive deprecating hand. The gesture was arrested by the entrance of Brush, who with a slight nod to us passed to a distant corner. Suddenly Vogelstein's expression had become one beaming, condescending paternalism. "Good man but impracticable," he muttered. "Thinks knowing it is everything. Knowing it is something, but selling it is the real thing. Now I hardly know at all, not a tenth as much as Brush, not a half as much as you even, but so long as I can sell, I don't really care to know. What's the use?"

"But you did know about the Balaklava Coronal and you sold it too," I interrupted. "How did you dare?"

"That's my secret--but here are our drinks. A bargain's a bargain. How funny it is to be talking truth. Why, much of it would make even your job difficult."

"And yours impossible, but we're not getting to the Coronal," I insisted.

"As for that," responded Vogelstein obligingly, "the first thing was of course the making. You know all about Sarafoff yourself. Well, he only did the work. It was Schönfeld who put in the brains. You don't know him? Few do. Great man though. University professor of archaeology, trouble with a woman, next trouble with money, now one of us. Yes Schönfeld thought it out and saw it through."

"And certainly made a good job of it," I admitted.

"As you see, we wanted something unique--something that could not be compared with anything in the museums."

"Precisely," I interposed, "Product of the local, semi-barbaric school of the Crimea."

"You've hit it," grinned Vogelstein. "Scythian influence, to take the professors. Schönfeld said we must have that. And that's why it had to be found at Balaklava."

"But it had to look Scythian too. How did you manage that?"

"Oh, that was Sarafoff's business. He had been a servant and then a novice at one of the monasteries of Mount Athos. Could make beautiful tenth-century Byzantine madonnas. I've sold some. Then he carved ikons in wood, ivory, silver, or what came. His things really looked Scythian enough to those who didn't know their modern Greece and Russia. So we set him to work in a back alley of Vienna at three kroners a day--double pay for him--and Schönfeld ran down from Petersburg now and then to coach him."

"You could trust him?" I inquired, recalling how Sarafoff had subsequently won fame by confessing to his most famous forgery.

"As much as one can anybody. You see he doesn't speak any civilised language, and at that time we couldn't tell that the Tiara would spoil him as it did the entire deal."

"But Schönfeld's coaching?" I suggested. Vogelstein here winked solemnly and drank deeply from his tall glass. "First I want to tell you all about Sarafoff," he persisted, "of course we had him watched all the same, and whenever he got an evening off, which was seldom, we had him filled up with schnapps. He was a quiet drunk which is an excellent thing, Sir." As I nodded assent to this great truth, he continued: "Yes Schönfeld, as I was saying, managed everything. Wonderful scholar. You would respect him I'm sure. Why, every bit of the pattern of the Coronal was taken from some real antique, every word of the inscription too." "Wasn't that a bit dangerous?" "With Schönfeld in charge, not so very. Everything was taken from little Russian museums that even you critics don't visit. Almost no published thing was used, you see."

"Then there was Sarafoff"--

"To give it all that quaint Scythian look," Vogelstein added joyously. "Yes, we had just the best brains and the best hands for the job, and it was beautiful." "Better than the Tiara?"

"Yes, far better. The Tiara was all a mistake, as I told Schönfeld; it was too big and too good to be true. Except for Steinbach, who fell in love with its queerness and chipped in some money, we never could have sold it to a museum. And it was a bad thing to have it there, it aroused opposition, it was bound to be exposed. I was always against it, and sure enough it spoiled the game for us. But the Balaklava Coronal that was just right. It had a sort of well-bred modest beauty. We should have begun instead of ending with it. Yes, Sir, there never was a more beautiful thing, a more plausible thing, a finer object to sell than the Balaklava Coronal."

As he bellowed the word and beat the table in confirmation, Brush looked over from his corner apprehensively. "Quietly, Mr. Vogelstein," I hinted, "this is between ourselves, and we might be overheard."

"That's right," he admitted, and moodily lit another cigar. "Where were we?" he asked uneasily. "Oh yes, we were at the Tiara. Now the Coronal and what we could have sold on the strength of it was worth ten of the Tiara, and if it hadn't been for the cursed thing, we could have landed the Coronal as a starter in any one of half a dozen museums."

"As a matter of fact they were all shy of it."

"Of course. Once the Tiara was being looked into, the museum game was up, and there was only Morrison left." Vogelstein lurched around nervously. "He may drop in soon," he explained. "I'd like to make you acquainted."

Ignoring the offer, I persisted, "You've got to the interesting point at last. Tell me why there was only Morrison left. To begin with Morrison knows something about such matters, and next he can have the best advice for the asking. And yet you tell me that Morrison was the only great collector in the world to whom that notoriously false bauble could be sold."

Vogelstein swayed uncomfortably in his chair, puffed, swallowed, cleared his throat, and said, "There are some things one can't say right out; you know that as well as I, but I can say this: there are many great and enterprising collectors in America, and Morrison is the only one who never doubts anything he has once bought."

"An ideal client then."

"Quite so. You see the others get worried by the critics. That means exchanging, refunding--all sorts of trouble."

"But Morrison never?"

"Never; he's a true sport. He never squeals."

"Doesn't have to because he doesn't know he's hurt."

"That's right," concluded Vogelstein, his face corrugating into one ample, contented smile.

"Then the big game reduces itself into selling to Morrison."

"That's more or less it, Sir. For a critic you have a business head."

"You will excuse a rather personal question, but how do you feel about selling your best customer at enormous prices objects which you know to be false?"

"It's a fair question since we are talking between ourselves, and you shall have a straight answer. First my business isn't just a nice one. In the nature of the case it wouldn't do for sensitive people. I suppose you and Brush, for instance, couldn't and wouldn't make much out of it. Then as regards Morrison, I'm not so sure he could complain if he knew. I give him the things he likes and the treatment he likes at the prices he likes. What more can any merchant do?"

I saw the subject rapidly exhausting itself and tried one more tack. "Yes, it's simpler than I supposed," I admitted, "but it doesn't seem quite an every-day thing to sell the Balaklava Coronal to anybody under Brush's nose."

"It's easier than you think," echoed Vogelstein. "You don't know Morrison. Hope he'll look in to-night. You ought to meet him."

My last bolt was shot. It was my turn to sit silent and drink. What could be this strange infatuation of the hardheaded Morrison, this avowedly simple magic of the grossly cunning Vogelstein? As I pondered the case I noticed Brush give a startled glance towards the entrance, heard heavy steps behind us, and then a deep voice saying, "Hallo again, Vogelstein, I'm lucky not to be too late to catch you."

Vogelstein lumbered to his feet and muttered an introduction. We all took our seats, as the headwaiter bustled obsequiously up to take Morrison's order of champagne. As if also obeying Morrison's nod, but reluctantly, Brush crawled over from his corner, a scarcely deferential attendant transporting his lemonade.

While casual greetings and some random talk went on I tried to picture the scene we must present. Neither Brush nor myself is contemptible physically or in other ways, yet we both seemed curiously the inferiors of these troglodytic giants. Our scruples, the voluntary complication of our lives, seemed to constitute at least a disadvantage when measured against the primitiveness, perhaps the rather brutal simplicity, of our companions.

It was Morrison who cut these reflections short. "You will excuse me, gentlemen," he said, "for introducing a matter of business here, but the case is pressing and it may even interest you as critics of art." We nodded permission and he continued, "It's about the Bleichrode Raphael, as of course you know, Vogelstein. I like it, I want it, but I hear all sorts of things about it, and frankly it strikes me as dear at the price. How do you feel about it?"

At the mention of the Bleichrode Raphael, Brush and I started. The forgery was more than notorious. The Bleichrode panel had begun life poorly but honestly as a Franciabigio--a portrait of an unknown Florentine lad with a beretta, the type of which Raphael's portrait of himself is the most famous example. The picture hung long in a private gallery at Rome and was duly listed in the handbooks. One day it disappeared and when it once more came to light it had become the Bleichrode Raphael. Its Raphaelisation had been effected, as many of us knew, by the consummate restorer Vilgard of Ghent, and for him the task had been an easy one. It had needed only slight eliminations and discreet additions to produce a portrait of Raphael by himself far more obviously captivating than any of the genuine series. Soon the picture vanished from Schloss Bleichrode, and it became anybody's guess what amateur had been elected to become its possessor. The museums naturally were forewarned.

While this came into Brush's memory and mine, Vogelstein's countenance had become severe, almost sinister, and he was answering Morrison as follows:

"Mr. Morrison, I have offered you the Bleichrode Raphael for half a million dollars. You will hear all sorts of gossip about it. Doubtless these gentlemen (indicating us) believe it is false and will tell you so (we nodded feebly). But I offer it not to their judgment but to yours. You and I know it is a beautiful thing and worth the money. I make no claims, offer no guarantee for the picture. You have seen it, and that's enough. If you don't want it, it makes no difference to me, I can sell it to Theiss (the great Parisian amateur, Morrison's only real rival), or I will gladly keep it myself, for I shall never have anything as fine again."

Morrison sat impassively while Vogelstein watched him narrowly. Brush and I felt for something that ought to be said yet would not come. At the end of his speech, or challenge, Vogelstein's expression had softened into one of the most courtly ingenuousness, now it hardened again into a strange arrogance. His eyes snapped as he continued with affected indifference, "Since you have raised the question, Mr. Morrison, the Bleichrode Raphael is yours to take or leave--to-night."

There was a pause as the two giants faced each other. Then Morrison smiled beamingly, as one who loved a good fighter, and said, "Send it round tomorrow, of course I want it. Well, that's settled, and if these gentlemen will spare you, I'll give you a lift down town."

Vogelstein's arrogance melted once more into fulsomeness as he said, almost forgetting his Goodnight to us, "I'm sure it's very good of you, Mr. Morrison."

The forms of Morrison and Vogelstein almost blocked the generous intercolumnar space as shoulder to shoulder they moved away between the yellow marble pillars and under the green and gold ceiling. The brown leather doors swung silently behind them, and we were left together with our amazement.

"Never mind, Old Fellow," said Brush at last. "It's the first time for you. You'll get used to it. It's my second time; I happened to be there, you know, when the Balaklava Coronal was sold."

SOME REFLECTIONS ON ART COLLECTING

Morally considered, the art collector is tainted with the fourth deadly sin; pathologically, he is often afflicted by a degree of mania. His distinguished kinsman, the connoisseur, scorns him as a kind of mercenary, or at least a manner of renegade. I shall never forget the expression with which a great connoisseur--who possesses one of the finest private collections in the Val d'Arno--in speaking of a famous colleague, declared, "Oh, X----! Why, X---- is merely a collector." The implication is, of course, that the one who loves art truly and knows it thoroughly will find full satisfaction in an enjoyment devoid alike of envy or the desire of possession He is to adore all beautiful objects with a Platonic fervour to which the idea of acquisition and domestication is repugnant. Before going into this lofty argument, I should perhaps explain the collection of my scornful friend. He would have said: "I see that as I put X---- in his proper place, you look at my pictures and smile. You have rightly divined that they are of some rarity, of a sort, in fact, for which X---- and his kind would sell their immortal souls. But I beg you to note that these pictures and bits of sculpture have been bought not at all for their rarity, nor even for their beauty as such, but simply because of their appropriateness as decorations for this particular villa. They represent not my energy as a collector, nor even my zeal as a connoisseur, but simply my normal activity as a man of taste. In this villa it happens that Italian old masters seem the proper material for decoration. In another house or in another land you might find me employing, again solely for decorative purposes, the prints of Japan, the landscapes of the modern impressionists, the rugs of the East, or the blankets of the Arizona desert. Free me, then, from the reproach implied in that covert leer at my Early Sienese." Yes, we must, I think, exclude from the ranks of the true zealots all who in any plausible fashion utilise the objects of art they buy. Excess, the craving to possess what he apparently does not need, is the mark of your true collector. Now these visionaries--at least the true ones--honour each other according to the degree of "eye" that each possesses. By "eye" the collector means a faculty of discerning a fine object quickly and instinctively. And, in fact, the trained eye becomes a magically fine instrument. It detects the fractions of a millimetre by which a copy belies its original. In colours it distinguishes nuances that a moderately trained vision will declare non-existent. Nor is the trained collector bound by the evidence of the eye alone. Of certain things he knows the taste or adhesiveness. His ear grasps the true ring of certain potteries, porcelains, or qualities of beaten metal. I know an expert on Japanese pottery who, when a sixth sense tells him that two pots apparently identical come really from different kilns, puts them behind his back and refers the matter from his retina to his finger-tips. Thus alternately challenged and trusted, the eye should become extraordinarily expert. A Florentine collector once saw in a junk-shop a marble head of beautiful workmanship. Ninety-nine amateurs out of a hundred would have said. "What a beautiful copy!" for the same head is exhibited in a famous museum and is reproduced in pasteboard, clay, metal, and stone _ad nauseam_. But this collector gave the apparent copy a second look and a third. He reflected that the example in the museum was itself no original, but a school-piece, and as he gazed the conviction grew that here was the original. Since it was closing time, and the marble heavy, a bargain was struck for the morrow. After an anxious night, this fortunate amateur returned in a cab to bring home what criticism now admits is a superb Desiderio da Settignano. The incident illustrates capitally the combination of keenness and patience that goes to make the collector's eye.

We may divide collectors into those who play the game and those who do not. The wealthy gentleman who gives _carte blanche_ to his dealers and agents is merely a spoilsport. He makes what should be a matter of adroitness simply an issue of brute force. He robs of all delicacy what from the first glow of discovery to actual possession should be a fine transaction. Not only does he lose the real pleasures of the chase, but he raises up a special clan of sycophants to part him and his money. A mere handful of such--amassers, let us say--have demoralised the art market. According to the length of their purses, collectors may also be divided into those who seek and those who are sought. Wisdom lies in making the most of either condition. The seekers unquestionably get more pleasure; the sought achieve the more imposing results. The seekers depend chiefly on their own judgment, buying preferably of those who know less than themselves; the sought depend upon the judgment of those who know more than themselves, and, naturally, must pay for such vicarious expertise. And, rightly, they pay dear. Let no one who buys of a great dealer imagine that he pays simply the cost of an object plus a generous percentage of profit. No, much-sought amateur, you pay the rent of that palace in Bond Street or Fifth Avenue; you pay the salary of the gentlemanly assistant or partner whose time is at your disposal during your too rare visits; you pay the commissions of an army of agents throughout the world; you pay, alas! too often the cost of securing false "sale records" in classic auction rooms; and, finally, it is only too probable that you pay also a heavy secret commission to the disinterested friend who happened to remark there was an uncommonly fine object in Y----'s gallery. By a cheerful acquiescence in the suggestions that are daily made to you, you may accumulate old masters as impersonally, as genteelly, let me say, as you do railway bonds. But, of course, under these circumstances you must not expect bargains.