The door between the bedroom and the drawing room, left open in the night for ventilation, had been softly closed as usual during G.J.'s final sleep, and the bedroom was in absolute darkness save for a faint grey gleam over the valance [30] of the window curtains. G.J. could think. He wondered whether he was in love. He hoped he was in love, and the fact that the woman who attracted him was a courtesan did not disturb him in the least.
He was nearing fifty years of age. He had casually known hundreds of courtesans in sundry capitals, a few of them very agreeable; also a number of women calling themselves, sometimes correctly, actresses, all of whom, for various reasons which need not be given, had proved very unsatisfactory. But he had never loved—unless it might be, mildly, Concepcion, and Concepcion was now a war bride. He wanted to love. He had never felt about any woman, not even about Concepcion, as he felt about the woman seen for a few minutes at the Marigny Theatre and then for five successive nights vainly searched for in all the chief music-halls of Paris. (A nice name, Christine! It suited her.) He had given her up—never expected to catch sight of her again; but she had remained a steadfast memory, sad and charming. The encounter in the Promenade in Leicester Square was such a piece of heavenly and incredible luck that it had, at the moment, positively made him giddy. The first visit to Christine's flat had beatified and stimulated him. Would the second? Anyhow, she was the most alluring woman—and yet apparently of dependable character!—he had ever met. No other consideration counted with him.
There was a soft knock; the door was pushed, and wavy reflections of the drawing-room fire played on the corner of the bedroom ceiling. [31] Mrs. Braiding came in. G.J. had known it was she by the caressing quality of the knock. Mrs. Braiding was his cook and the wife of his "man". It was not her place to come in, but occasionally, because something had happened to Braiding, she did come in. She drew the curtains apart, and the day of Vigo Street, pale, dirty, morose, feebly and perfunctorily took possession of the bedroom. Mrs. Braiding, having drawn the curtains, returned to the door and from the doorway said:
"Breakfast is practically ready, sir."
G.J. perceived that this was one of her brave, resigned mornings. Since August she had borne the entire weight of the war on her back, and sometimes the burden would overpower her, but never quite. G.J. switched on the light, arose from his bed, assumed his dressing-gown, and, gazing with accustomed pleasure round the bedroom, saw that it was perfect.
He had furnished his flat in the Regency style of the first decade of the nineteenth century, as matured by George Smith, "upholder extraordinary to His Royal Highness the Prince of Wales". The Pavilion at Brighton had given the original idea to G.J., who saw in it the solution of the problem of combining the somewhat massive dignity suitable to a bachelor of middling age with the bright, unconquerable colours which the eternal twilight of London demands.
His dome bed was yellow as to its upper works, with crimson valances above and yellow valances below. The yellow-lined crimson curtains (of course never closed) had green cords and tassels, and the counterpane was yellow. This [32] bed was a modest sample of the careful and uncompromising reconstitution of a period which he had everywhere carried out in his abode.
The drawing-room, with its moulded ceiling and huge recessed window, had presented an admirable field for connoisseurship. Here the clash of rich primary colours, the perpendiculars which began with bronze girls' heads and ended with bronze girls' feet or animals' claws, the vast flat surfaces of furniture, the stiff curves of wood and a drapery, the morbid rage for solidity which would employ a candelabrum weighing five hundredweight to hold a single wax candle, produced a real and imposing effect of style; it was a style debased, a style which was shedding the last graces of French Empire in order soon to appeal to a Victoria determined to be utterly English and good; but it was a style. And G.J. had scamped no detail. Even the pictures were hung with thick tasselled cords of the Regency. The drawing-room was a triumph.
Do not conceive that G.J. had lost his head about furniture and that his notion of paradise was an endless series of second-hand shops. He had an admirable balance; and he held that a man might make a faultless interior for himself and yet not necessarily lose his balance. He resented being called a specialist in furniture. He regarded himself as an amateur of life, and, if a specialist in anything, as a specialist in friendships. Yet he was a solitary man (liking solitude without knowing that he liked it), and in the midst of the perfections which he had created he sometimes [33] gloomily thought: "What in the name of God am I doing on this earth?"
He went into the drawing-room, and there, by the fire and in front of a formidable blue chair whose arms developed into the grinning heads of bronze lions, stood the lacquered table consecrated to his breakfast tray; and his breakfast tray, with newspaper and correspondence, had been magically placed thereon as though by invisible hands. And on one arm of the easy-chair lay the rug which, because a dressing-gown does not button all the way down, he put over his knees while breakfasting in winter. Yes, he admitted with pleasure that he was "well served". Before eating he opened the piano—a modern instrument concealed in an ingeniously confected Regency case—and played with taste a Bach prelude and fugue.