There are always those who seek in art that which they have lost or used up or never dared take in life. There are those whose desires are projected upon the mind and obsess it long after the capacity for direct experience is ruined. There are those to whom anything esoteric and new is irresistible. There were those, besides, who sought Vera, notably among them a tall blond animal of the golden series.
He was the man I saw bring Vera home that evening I waited to have it out with her. I met him again in London on Galt’s business while soliciting proxies among our foreign stockholders. At that time he was acting for his father’s estate with an English syndicate that had large investments in American railroads. Since then, by the will of Providence, he had come into possession of the estate together with an hereditary title of great social distinction.
Enter, as he pleases, Lord Porteous. With a thin, cynical head, a definite simplicity of outline and an exaggerated, voluptuous grace of body, he remarkably resembled an old Greek drawing. How he had found Vera in the first place I never knew. That happened, at any rate, before she was rich. He had the trained British instinct for putting money with the right people, and it was true that the English discovered Galt from afar while he was yet almost unknown in Wall Street. But when I saw him that first time with Vera the Great Midwestern was on its way to bankruptcy and Galt’s interest in it was extremely precarious.
Well, no matter. It was inevitable however it happened. When he returned to this country as Lord Porteous he found her again and immediately added his prestige to her circle. Art bored him. He played the part of beguiled Philistine and amused himself by uttering bourgeoise comments of the most astonishing banality. Whether he truly meant them or not nobody knew for sure. He never by any chance betrayed his form. If satire, it was art; if not, it was incredible. Sensitive victims were reduced to a state of grinning horror. One who committed suicide was believed to have been driven to it by something Lord Porteous said to him in a moment of their being accidentally alone at the sideboard. The artist dropped his glass in a gibbering rage and went headlong forth. He was never seen alive again, and as m’lord couldn’t be asked we never knew what it was.
For all that, Lord Porteous was a capital social asset, and a valiant protagonist. He carried Vera’s name with him wherever he went, even to Mrs. Valentine’s table,—there especially, in fact, because he discovered how much it annoyed her. He disliked her; and she was helpless.
iii
Like her father, Vera was adventurous with success. No measure was enough. She began to import art objects that were bound to be talked about,—not old masters, nothing so trite as that, but daring, controversial things, the latest word of a modern school or the most authentic fetich of a new movement in thought. Her grand stroke was the purchase in London of the rarest piece of antique negro sculpture then known to exist in the world. It had been miraculously discovered in Africa and was brought to England for sale. Its importance lay in the fact that a certain self-advertised cult, leading a revolt against classic Greek tradition, acclaimed it on sight as the perfect demonstration of some theory which only artists could pretend to understand. Modern sculpture, these people said, was pure in but two of its three dimensions. This African thing, wrought by savages in a time of great antiquity, was pure also in the third dimension. Therefore it excelled anything that was Greek or derived therefrom. A storm of controversy broke upon the absurd little idol’s head. Photographs of it were printed in hundreds of magazines and newspapers in Europe and the United States. And when it came to be sold at auction it was one of the most notorious objects on earth.
The British Museum retired after the second bid. Agents acting for private collectors ran the price up rapidly. The bidding, according to the news reports cabled to this country the next morning, was “very spirited,” and the treasure passed at a fabulous price to the agent of “Miss Vera Galt, the well known American collector.” She had engaged the assistance of a dealer who knew how to get publicity in these high matters. English art critics politely regretted that an object of such rare æsthetic interest should leave Europe; American critics exulted accordingly and praised Miss Galt’s enterprise.
I was at the studio the day the thing arrived and was unpacked. Besides the initiates, votaries and friends, a number of art critics were present by invitation. Vera, as usual, was detached and tentative, with no air of proprietorship whatever. She was like one of the spectators. Yet every detail of the ceremony had been rigidly ordained. The place prepared to receive the idol was not too conspicuous. It was to be important but not paramount. It must not dominate the scene.
As one not entitled to participate in the chatter I was free to listen. There were oh’s and ah’s and guttural sounds, meant in each case to express that person’s whole unique comprehension and theory of art. The more articulate had almost done better, I thought, to limit themselves to similar exclamations. What they said was quite meaningless, to me at least. With the enthusiasm of original discovery one declared that it was wholly free of any representational quality. Another said with profound wisdom that it was neither the symbol nor the representation of anything, but purely and miraculously a thing in itself. Its unrepresentationalness and thing-in-itselfness were thereupon asserted over and over, everyone perceiving that to be the safe slant of opinion. They were wonderfully excited. No lay person may hope to understand these commotions of æsthetic feeling. The idea was to me grotesque that this strange, discolored figure, not more than fifteen inches high, with its upturned nose, its cylindrical trunk, cylindrical arms not pertaining to the trunk, cylindrical legs pertaining to neither the trunk nor the arms, terminating in block feet, should be an august event in the world of art.