Chapter 6

Seated at the young man's side on the satin cushions, he remained silent while the carriage rolled smoothly and rapidly through the net-work of streets leading to the Boulevard Saint-Germain; only once he remarked, glancing at the elaborate fittings of the coupe: "Is this Mrs. Newell's carriage?"

"I believe so--yes," Garnett assented, with the guilty sense that in defining that lady's possessions it was impossible not to trespass on those of her friends.

Mr. Newell made no farther comment, but presently requested his companion to rehearse to him once more the exact duties which were to devolve on him during the coming ceremony. Having mastered these he remained silent, fixing a dry speculative eye on the panorama of the brilliant streets, till the carriage drew up at the entrance of Saint Philippe du Roule.

With the same air of composure he followed his guide through the mob of spectators, and up the crimson velvet steps, at the head of which, but for a word from Garnett, a formidable Suisse, glittering with cocked hat and mace, would have checked the advance of the small crumpled figure so oddly out of keeping with the magnificence of the bridal party. The French fashion prescribing that the family _cortege_ shall follow the bride to the altar, the vestibule of the church was thronged with the participatore in the coming procession; but if Mr. Newell felt any nervousness at his sudden projection into this unfamiliar group, nothing in his look or manner betrayed it. He stood beside Garnett till a white-favoured carriage, dashing up to the church with a superlative glitter of highly groomed horseflesh and silver-plated harness, deposited the snowy apparition of the bride, supported by her mother; then, as Hermione entered the vestibule, he went forward quietly to meet her.

The girl, wrapped in the haze of her bridal veil, and a little confused, perhaps, by the anticipation of the meeting, paused a moment, as if in doubt, before the small oddly-clad figure which blocked her path--a horrible moment to Garnett, who felt a pang of misery at this satire on the infallibility of the filial instinct. He longed to make some sign, to break in some way the pause of uncertainty; but before he could move he saw Mrs. Newell give her daughter a sharp push, he saw a blush of compunction flood Hermione's face, and the girl, throwing back her veil, bent her tall head and flung her arms about her father.

Mr. Newell emerged unshaken from the embrace: it seemed to have no effect beyond giving an odder twist to his tie. He stood beside his daughter till the church doors were thrown open; then, at a sign from the verger, he gave her his arm, and the strange couple, with the long train of fashion and finery behind them, started on their march to the altar.

Garnett had already slipped into the church and secured a post of vantage which gave him a side-view over the assemblage. The building was thronged--Mrs. Newell had attained her ambition and given Hermione a smart wedding. Garnett's eye travelled curiously from one group to another--from the numerous representatives of the bridegroom's family, all stamped with the same air of somewhat dowdy distinction, the air of having had their thinking done for them for so long that they could no longer perform the act individually, and the heterogeneous company of Mrs. Newell's friends, who presented, on the opposite side of the nave, every variety of individual conviction in dress and conduct. Of the two groups the latter was decidedly the more interesting to Garnett, who observed that it comprised not only such recent acquisitions as the Woolsey Hubbards and the Baron, but also sundry more important figures which of late had faded to the verse of Mrs. Newell's horizon. Hermione's marriage had drawn them back, had once more made her mother a social entity, had in short already accomplished the object for which it had been planned and executed.

And as he looked about him Garnett saw that all the other actors in the show faded into insignificance beside the dominant figure of Mrs. Newell, became mere marionettes pulled hither and thither by the hidden wires of her intention. One and all they were there to serve her ends and accomplish her purpose: Schenkelderff and the Hubbards to pay for the show, the bride and bridegroom to seal and symbolize her social rehabilitation, Garnett himself as the humble instrument adjusting the different parts of the complicated machinery, and her husband, finally, as the last stake in her game, the last asset on which she could draw to rebuild her fallen fortunes. At the thought Garnett was filled with a deep disgust for what the scene signified, and for his own share in it. He had been her tool and dupe like the others; if he imagined that he was serving Hermione, it was for her mother's ends that he had worked. What right had he to sentimentalise a marriage founded on such base connivances, and how could he have imagined that in so doing he was acting a disinterested part?

While these thoughts were passing through his mind the ceremony had already begun, and the principal personages in the drama were ranged before him in the row of crimson velvet chairs which fills the foreground of a Catholic marriage. Through the glow of lights and the perfumed haze about the altar, Garnett's eyes rested on the central figures of the group, and gradually the others disappeared from his view and his mind. After all, neither Mrs. Newell's schemes nor his own share in them could ever unsanctify Hermione's marriage. It was one more testimony to life's indefatigable renewals, to nature's secret of drawing fragrance from corruption; and as his eyes turned from the girl's illuminated presence to the resigned and stoical figure sunk in the adjoining chair, it occured to him that he had perhaps worked better than he knew in placing them, if only for a moment, side by side.

IN TRUST

IN the good days, just after we all left college, Ned Halidon and I used to listen, laughing and smoking, while Paul Ambrose set forth his plans.

They were immense, these plans, involving, as it sometimes seemed, the ultimate aesthetic redemption of the whole human race; and provisionally restoring the sense of beauty to those unhappy millions of our fellow country-men who, as Ambrose movingly pointed out, now live and die in surroundings of unperceived and unmitigated ugliness.

"I want to bring the poor starved wretches back to their lost inheritance, to the divine past they've thrown away--I want to make 'em hate ugliness so that they'll smash nearly everything in sight," he would passionately exclaim, stretching his arms across the shabby black-walnut writing-table and shaking his thin consumptive fist in the fact of all the accumulated ugliness in the world.

"You might set the example by smashing that table," I once suggested with youthful brutality; and Paul, pulling himself up, cast a surprised glance at me, and then looked slowly about the parental library, in which we sat.

His parents were dead, and he had inherited the house in Seventeenth Street, where his grandfather Ambrose had lived in a setting of black walnut and pier glasses, giving Madeira dinners, and saying to his guests, as they rejoined the ladies across a florid waste of Aubusson carpet: "This, sir, is Dabney's first study for the Niagara--the Grecian Slave in the bay window was executed for me in Rome twenty years ago by my old friend Ezra Stimpson--" by token of which he passed for a Maecenas in the New York of the 'forties,' and a poem had once been published in the Keepsake or the Book of Beauty "On a picture in the possession of Jonathan Ambrose, Esqre."

Since then the house had remained unchanged. Paul's father, a frugal liver and hard-headed manipulator of investments, did not inherit old Jonathan's artistic sensibilities, and was content to live and die in the unmodified black walnut and red rep of his predecessor. It was only in Paul that the grandfather's aesthetic faculty revived, and Mrs. Ambrose used often to say to her husband, as they watched the little pale-browed boy poring over an old number of the _Art Journal:_ "Paul will know how to appreciate your father's treasures."

In recognition of these transmitted gifts Paul, on leaving Harvard, was sent to Paris with a tutor, and established in a studio in which nothing was ever done. He could not paint, and recognized the fact early enough to save himself much wasted labor and his friends many painful efforts in dissimulation. But he brought back a touching enthusiasm for the forms of beauty which an old civilization had revealed to him and an apostolic ardour in the cause of their dissemination.

He had paused in his harangue to take in my ill-timed parenthesis, and the color mounted slowly to his thin cheek-bones.

"It _is_ an ugly room," he owned, as though he had noticed the library for the first time.

The desk was carved at the angles with the heads of helmeted knights with long black-walnut moustaches. The red cloth top was worn thread-bare, and patterned like a map with islands and peninsulas of ink; and in its centre throned a massive bronze inkstand representing a Syrian maiden slumbering by a well beneath a palm-tree.

"The fact is," I said, walking home that evening with Ned Halidon, "old Paul will never do anything, for the simple reason that he's too stingy."

Ned, who was an idealist, shook his handsome head. "It's not that, my dear fellow. He simply doesn't see things when they're too close to him. I'm glad you woke him up to that desk."

The next time I dined with Paul he said, when we entered the library, and I had gently rejected one of his cheap cigars in favour of a superior article of my own: "Look here, I've been looking round for a decent writing-table. I don't care, as a rule, to turn out old things, especially when they've done good service, but I see now that this is too monstrous--"

"For an apostle of beauty to write his evangel on," I agreed, "it _is_ a little inappropriate, except as an awful warning."

Paul colored. "Well, but, my dear fellow, I'd no idea how much a table of this kind costs. I find I can't get anything decent--the plainest mahogany--under a hundred and fifty." He hung his head, and pretended not to notice that I was taking out my own cigar.

"Well, what's a hundred and fifty to you?" I rejoined. "You talk as if you had to live on a book-keeper's salary, with a large family to support."

He smiled nervously and twirled the ring on his thin finger. "I know--I know--that's all very well. But for twenty tables that I _don't_ buy I can send some fellow abroad and unseal his eyes."

"Oh, hang it, do both!" I exclaimed impatiently; but the writing-table was never bought. The library remained as it was, and so did the contention between Halidon and myself, as to whether this inconsistent acceptance of his surroundings was due, on our friend's part, to a congenital inability to put his hand in his pocket, or to a real unconsciousness of the ugliness that happened to fall inside his point of vision.

"But he owned that the table was ugly," I agreed.

"Yes, but not till you'd called his attention to the fact; and I'll wager he became unconscious of it again as soon as your back was turned."

"Not before he'd had time to look at a lot of others, and make up his mind that he couldn't afford to buy one."

"That was just his excuse. He'd rather be thought mean than insensible to ugliness. But the truth is that he doesn't mind the table and is used to it. He knows his way about the drawers."

"But he could get another with the same number of drawers."

"Too much trouble," argued Halidon.

"Too much money," I persisted.

"Oh, hang it, now, if he were mean would he have founded three travelling scholarships and be planning this big Academy of Arts?"

"Well, he's mean to himself, at any rate."

"Yes; and magnificently, royally generous to all the world besides!" Halidon exclaimed with one of his great flushes of enthusiasm.

But if, on the whole, the last word remained with Halidon, and Ambrose's personal chariness seemed a trifling foible compared to his altruistic breadth of intention, yet neither of us could help observing, as time went on, that the habit of thrift was beginning to impede the execution of his schemes of art-philanthropy. The three travelling scholarships had been founded in the first blaze of his ardour, and before the personal management of his property had awakened in him the sleeping instincts of parsimony. But as his capital accumulated, and problems of investment and considerations of interest began to encroach upon his visionary hours, we saw a gradual arrest in the practical development of his plan.

"For every thousand dollars he talks of spending on his work, I believe he knocks off a cigar, or buys one less newspaper," Halidon grumbled affectionately; "but after all," he went on, with one of the quick revivals of optimism that gave a perpetual freshness to his spirit, "after all, it makes one admire him all the more when one sees such a nature condemned to be at war with the petty inherited instinct of greed."

Still, I could see it was a disappointment to Halidon that the great project of the Academy of Arts should languish on paper long after all its details had been discussed and settled to the satisfaction of the projector, and of the expert advisers he had called in council.

"He's quite right to do nothing in a hurry--to take advice and compare ideas and points of view--to collect and classify his material in advance," Halidon argued, in answer to a taunt of mine about Paul's perpetually reiterated plea that he was still waiting for So-and-so's report; "but now that the plan's mature--and _such_ a plan! You'll grant it's magnificent?--I should think he'd burn to see it carried out, instead of pottering over it till his enthusiasm cools and the whole business turns stale on his hands."

That summer Ambrose went to Europe, and spent his holiday in a frugal walking-tour through Brittany. When he came back he seemed refreshed by his respite from business cares and from the interminable revision of his cherished scheme; while contact with the concrete manifestations of beauty had, as usual, renewed his flagging ardour.

"By Jove," he cried, "whenever I indulged my unworthy eyes in a long gaze at one of those big things--picture or church or statue--I kept saying to myself: 'You lucky devil, you, to be able to provide such a sight as that for eyes that can make some good use of it! Isn't it better to give fifty fellows a chance to paint or carve or build, than to be able to daub canvas or punch clay in a corner all by yourself?'"

"Well," I said, when he had worked off his first ebullition, "when is the foundation stone to be laid?"

His excitement dropped. "The foundation stone--?"

"When are you going to touch the electric button that sets the thing going?"

Paul, with his hands in his sagging pockets, began to pace the library hearth-rug--I can see him now, setting his shabby red slippers between its ramified cabbages.

"My dear fellow, there are one or two points to be considered still--one or two new suggestions I picked up over there--"

I sat silent, and he paused before me, flushing to the roots of his thin hair. "You think I've had time enough--that I ought to have put the thing through before this? I suppose you're right; I can see that even Ned Halidon thinks so; and he has always understood my difficulties better than you have."

This insinuation exasperated me. "Ned would have put it through years ago!" I broke out.

Paul pulled at his straggling moustache. "You mean he has more executive capacity? More--no, it's not that; he's not afraid to spend money, and I am!" he suddenly exclaimed.

He had never before alluded to this weakness to either of us, and I sat abashed, suffering from his evident distress. But he remained planted before me, his little legs wide apart, his eyes fixed on mine in an agony of voluntary self-exposure.

"That's my trouble, and I know it. Big sums frighten me--I can't look them in the face. By George, I wish Ned had the carrying out of this scheme--I wish he could spend my money for me!" His face was lit by the reflection of a passing thought. "Do you know, I shouldn't wonder if I dropped out of the running before either of you chaps, and in case I do I've half a mind to leave everything in trust to Halidon, and let him put the job through for me."

"Much better have your own fun with it," I retorted; but he shook his head, saying with a sigh as he turned away: "It's _not_ fun to me--that's the worst of it."

Halidon, to whom I could not help repeating our talk, was amused and touched by his friend's thought.

"Heaven knows what will become of the scheme, if Paul doesn't live to carry it out. There are a lot of hungry Ambrose cousins who will make one gulp of his money, and never give a dollar to the work. Jove, it _would_ be a fine thing to have the carrying out of such a plan--but he'll do it yet, you'll see he'll do it yet!" cried Ned, his old faith in his friend flaming up again through the wet blanket of fact.

II

PAUL AMBROSE did not die and leave his fortune to Halidon, but the following summer he did something far more unexpected. He went abroad again, and came back married. Now our busy fancy had never seen Paul married. Even Ned recognized the vague unlikelihood of such a metamorphosis.

"He'd stick at the parson's fee--not to mention the best man's scarf-pin. And I should hate," Ned added sentimentally, "to see 'the touch of a woman's hand' desecrate the sublime ugliness of the ancestral home. Think of such a house made 'cozy'!"

But when the news came he would own neither to surprise nor to disappointment.

"Goodbye, poor Academy!" I exclaimed, tossing over the bridegroom's eight-page rhapsody to Halidon, who had received its duplicate by the same post.

"Now, why the deuce do you say that?" he growled. "I never saw such a beast as you are for imputing mean motives."

To defend myself from this accusation I put out my hand and recovered Paul's letter.

"Here: listen to this. 'Studying art in Paris when I met her--"the vision and the faculty divine, but lacking the accomplishment," etc.... A little ethereal profile, like one of Piero della Francesca's angels ... not rich, thank heaven, _but not afraid of money_, and already enamored of my project for fertilizing my sterile millions...'"

"Well, why the deuce--?" Ned began again, as though I had convicted myself out of my friend's mouth; and I could only grumble obscurely: "It's all too pat."

He brushed aside my misgivings. "Thank heaven, she can't paint, anyhow. And now that I think of it, Paul's just the kind of chap who ought to have a dozen children."

"Ah, then indeed: goodbye, poor Academy!" I croaked.

The lady was lovely, of that there could be no doubt; and if Paul now for a time forgot the Academy, his doing so was but a vindication of his sex. Halidon had only a glimpse of the returning couple before he was himself snatched up in one of the chariots of adventure that seemed perpetually waiting at his door. This time he was going to the far East in the train of a "special mission," and his head was humming with new hopes and ardors; but he had time for a last word with me about Ambrose.

"You'll see--you'll see!" he summed up hopefully as we parted; and what I was to see was, of course, the crowning pinnacle of the Academy lifting itself against the horizon of the immediate future.

It was in the nature of things that I should, meanwhile, see less than formerly of the projector of that unrealized structure. Paul had a personal dread of society, but he wished to show his wife to the world, and I was not often a spectator on these occasions. Paul indeed, good fellow, tried to maintain the pretense of an unbroken intercourse, and to this end I was asked to dine now and then; but when I went I found guests of a new type, who, after dinner, talked of sport and stocks, while their host blinked at them silently through the smoke of his cheap cigars.

The first innovation that struck me was a sudden improvement in the quality of the cigars. Was this Daisy's doing? (Mrs. Ambrose was Daisy.) It was hard to tell--she produced her results so noiselessly. With her fair bent head and vague smile, she seemed to watch life flow by without, as yet, trusting anything of her own to its current. But she was watching, at any rate, and anything might come of that. Such modifications as she produced were as yet almost imperceptible to any but the trained observer. I saw that Paul wished her to be well dressed, but also that he suffered her to drive in a hired brougham, and to have her door opened by the raw-boned Celt who had bumped down the dishes on his bachelor table. The drawing-room curtains were renewed, but this change served only to accentuate the enormities of the carpet, and perhaps discouraged Mrs. Ambrose from farther experiments. At any rate, the desecrating touch that Halidon had affected to dread made no other inroads on the serried ugliness of the Ambrose interior.

In the early summer, when Ned returned, the Ambroses had flown to Europe again--and the Academy was still on paper.

"Well, what do you make of her?" the traveller asked, as we sat over our first dinner together.

"Too many things--and they don't hang together. Perhaps she's still in the chrysalis stage."

"Has Paul chucked the scheme altogether?"

"No. He sent for me and we had a talk about it just before he sailed."

"And what impression did you get?"

"That he had waited to send for me _till_ just before he sailed."

"Oh, there you go again!" I offered no denial, and after a pause he asked: "Did _she_ ever talk to you about it?"

"Yes. Once or twice--in snatches."

"Well--?"

"She thinks it all _too_ beautiful. She would like to see beauty put within the reach of everyone."

"And the practical side--?"

"She says she doesn't understand business."

Halidon rose with a shrug. "Very likely you frightened her with your ugly sardonic grin."

"It's not my fault if my smile doesn't add to the sum-total of beauty."

"Well," he said, ignoring me, "next winter we shall see."

But the next winter did not bring Ambrose back. A brief line, written in November from the Italian lakes, told me that he had "a rotten cough," and that the doctors were packing him off to Egypt. Would I see the architects for him, and explain to the trustees? (The Academy already had trustees, and all the rest of its official hierarchy.) And would they all excuse his not writing more than a word? He was really too groggy--but a little warm weather would set him up again, and he would certainly come home in the spring.

He came home in the spring--in the hold of the ship, with his widow several decks above. The funeral services were attended by all the officers of the Academy, and by two of the young fellows who had won the travelling scholarships, and who shed tears of genuine grief when their benefactor was committed to the grave.

After that there was a pause of suspense--and then the newspapers announced that the late Paul Ambrose had left his entire estate to his widow. The board of the Academy dissolved like a summer cloud, and the secretary lighted his pipe for a year with the official paper of the still-born institution.

After a decent lapse of time I called at the house in Seventeenth Street, and found a man attaching a real-estate agent's sign to the window and a van-load of luggage backing away from the door. The care-taker told me that Mrs. Ambrose was sailing the next morning. Not long afterward I saw the library table with the helmeted knights standing before an auctioneer's door in University Place; and I looked with a pang at the familiar ink-stains, in which I had so often traced the geography of Paul's visionary world.