Leveson instantly went up to Lord Ivywood, pulled papers from his pocket and was plainly telling him of the escape from Peaceways. Ivywood’s face hardly changed; he was, or felt, above some things; and one of them was blaming a servant before the servant’s social superiors. But no one could say he looked less like cold marble than before.
“I made all possible inquiries about their subsequent route,” the Secretary was heard saying, “and the most serious feature is that they seem to have taken the road for London.”
“Quite so,” replied the statue, “they will be easier to capture here.”
Lady Enid, by a series of assurances (most of which were, I regret to say, lies) had succeeded in preventing the scandal of her cousin, Dorian, actually cutting her cousin, Phillip. But she knew very little of the masculine temper if she really thought she had prevented the profound intellectual revolt of the poet against the politician. Ever since he heard Mr. Hibbs say, “Yars! Yars!”, and order his arrest by a common policeman, the feelings of Dorian Wimpole had flowed for some four days and nights in a direction highly contrary to the ideals of Mr. Hibbs, and the sudden appearance of that blameless diplomatist quickened the mental current to a cataract. But as he could not insult Hibbs, whom socially he did not even know; and could not insult Ivywood, with whom he had just had a formal reconciliation, it was absolutely necessary that he should insult something else instead. All watchers for the Dawn will be deeply distressed to know that the Post-Futurist School of Painting received the full effects of this perverted wrath. In vain did Mr. Leveson affirm from time to time, “People always prejudiced against new ideas.” Vainly did Mr. Hibbs say at the proper intervals, “After all, they said the same of Whistler.” Not by such decent formalities was the frenzy of Dorian to be appeased.
“That little Turk has more sense than you have,” he said, “he passes it as a good wall-paper. I should say it was a bad wall-paper; the sort of wall-paper that gives a sick man fever when he hasn’t got it. But to call it pictures—you might as well call it seats for the Lord Mayor’s Show. A seat isn’t a seat if you can’t see the Lord Mayor’s Show. A picture isn’t a picture if you can’t see any picture. You can sit down at home more comfortably than you can at a procession. And you can walk about at home more comfortably than you can at a picture gallery. There’s only one thing to be said for a street show or a picture show—and that is whether there is anything to be shown. Now, then! Show me something!”
“Well,” said Lord Ivywood, good humouredly, motioning toward the wall in front of him, “let me show you the ‘Portrait of an Old Lady.’”
“Well,” said Dorian, stolidly, “which is it?”
Mr. Hibbs made a hasty gesture of identification, but was so unfortunate as to point to the picture of “Rain in the Apennines,” instead of the “Portrait of an Old Lady,” and his intervention increased the irritation of Dorian Wimpole. Most probably, as Mr. Hibbs afterward explained, it was because a vivacious movement of the elbow of Mr. Wimpole interfered with the exact pointing of the forefinger of Mr. Hibbs. In any case, Mr. Hibbs was sharply and horridly fixed by embarrassment; so that he had to go away to the refreshment bar and eat three lobster-patties, and even drink a glass of that champagne that had once been his ruin. But on this occasion he stopped at one glass, and returned with a full diplomatic responsibility.
He returned to find that Dorian Wimpole had forgotten all the facts of time, place, and personal pride, in an argument with Lord Ivywood, exactly as he had forgotten such facts in an argument with Patrick Dalroy, in a dark wood with a donkey-cart. And Phillip Ivywood was interested also; his cold eyes even shone; for though his pleasure was almost purely intellectual, it was utterly sincere.
“And I do trust the untried; I do follow the inexperienced,” he was saying quietly, with his fine inflections of voice. “You say this is changing the very nature of Art. I want to change the very nature of Art. Everything lives by turning into something else. Exaggeration is growth.”