At last, after twenty years, he came back to his woodcarving, almost to the point where he had left off his Adam and Eve panel, when he was courting. But now he had knowledge and skill without vision. He saw the puerility of his young conceptions, he saw the unreal world in which they had been conceived. He now had a new strength in his sense of reality. He felt as if he were real, as if he handled real things. He had worked for many years at Cossethay, building the organ for the church, restoring the woodwork, gradually coming to a knowledge of beauty in the plain labours. Now he wanted again to carve things that were utterances of himself.
But he could not quite hitch on—always he was too busy, too uncertain, confused. Wavering, he began to study modelling. To his surprise he found he could do it. Modelling in clay, in plaster, he produced beautiful reproductions, really beautiful. Then he set-to to make a head of Ursula, in high relief, in the Donatello manner. In his first passion, he got a beautiful suggestion of his desire. But the pitch of concentration would not come. With a little ash in his mouth he gave up. He continued to copy, or to make designs by selecting motives from classic stuff. He loved the Della Robbia and Donatello as he had loved Fra Angelico when he was a young man. His work had some of the freshness, the naïve alertness of the early Italians. But it was only reproduction.
Having reached his limit in modelling, he turned to painting. But he tried water-colour painting after the manner of any other amateur. He got his results but was not much interested. After one or two drawings of his beloved church, which had the same alertness as his modelling, he seemed to be incongruous with the modern atmospheric way of painting, so that his church tower stood up, really stood and asserted its standing, but was ashamed of its own lack of meaning, he turned away again.
He took up jewellery, read Benvenuto Cellini, pored over reproductions of ornament, and began to make pendants in silver and pearl and matrix. The first things he did, in his start of discovery, were really beautiful. Those later were more imitative. But, starting with his wife, he made a pendant each for all his womenfolk. Then he made rings and bracelets.
Then he took up beaten and chiselled metal work. When Ursula left school, he was making a silver bowl of lovely shape. How he delighted in it, almost lusted after it.
All this time his only connection with the real outer world was through his winter evening classes, which brought him into contact with state education. About all the rest, he was oblivious, and entirely indifferent—even about the war. The nation did not exist to him. He was in a private retreat of his own, that had neither nationality, nor any great adherent.
Ursula watched the newspapers, vaguely, concerning the war in South Africa. They made her miserable, and she tried to have as little to do with them as possible. But Skrebensky was out there. He sent her an occasional post-card. But it was as if she were a blank wall in his direction, without windows or outgoing. She adhered to the Skrebensky of her memory.
Her love for Winifred Inger wrenched her life as it seemed from the roots and native soil where Skrebensky had belonged to it, and she was aridly transplanted. He was really only a memory. She revived his memory with strange passion, after the departure of Winifred. He was to her almost the symbol of her real life. It was as if, through him, in him, she might return to her own self, which she was before she had loved Winifred, before this deadness had come upon her, this pitiless transplanting. But even her memories were the work of her imagination.
She dreamed of him and her as they had been together. She could not dream of him progressively, of what he was doing now, of what relation he would have to her now. Only sometimes she wept to think how cruelly she had suffered when he left her—ah, how she had suffered! She remembered what she had written in her diary:
“If I were the moon, I know where I would fall down.”