Frederic asked Bennett to take a part in The Rose and the Ring, and he accepted. Gertrude took him aside to show him his part, and Mary produced her violin and played Mendelssohn’s Songs Without Words for half an hour, after which she produced a table and cards and sat playing Bézique with her mother. (Mrs. Folyat declared that she could not sleep without her game. No one else was allowed to play cards on Sunday.)

Serge sat teasing Minna, and time flew.

There came a ring at the bell, and after a little interval a gaunt figure in black stalked into the room, stood by the door, and said:

“Bennett, your mother says you’re to come home.”

Bennett rose to his feet at once, muttered good-bye, turned the colour of a red peony and slunk out after the old Scotch servant.

[XI
ART AND DRAMA]

Each had an upper stream ofthoughtThat made all seem as it was not.
PETER BELL THE THIRD.

LAWRIE, Beecroft and Co. had not a monopoly in culture. Our City Fathers provided us with an art gallery, to which, with praiseworthy regularity they added two Academy pictures every year; the Town-hall had been decorated by a Pre-Raphaelite, and there was a whole network of Free Libraries, all equipped with thousands of books in a uniform binding, and with the smell proper to Free Libraries. In the cold weather they were always very full, in the hot weather they were always very empty; but in the hot weather the accumulated smells of the winter were distilled and concentrated. For music we had two or three series of concerts during the winter months. They were chiefly patronised by Germans and Jews, and the English bragged about them. We had a College of Music, and a School of Art in connection with the municipal technical school. This institution was presided over by a Socialistic disciple of William Morris, who spent a great part of his free time in designing banners for Friendly Societies—Buffaloes, Free Foresters, Hearts of Oak—and cartoons for Labour journals. It was situated in a square which was typical of the town. In the centre of it stood a huge ugly Anglican church, and three sides of it were filled with a Presbyterian chapel, a Wesleyan chapel, a Baptist chapel, a Secular hall, a Maternity Hospital and a Dental Hospital. Down a by-street was the headquarters of the Salvation Army, and down another a larger Roman Catholic church. Quite near was the office in which Bennett Lawrie worked, and all round were slums, public-houses, brothels, a wedge of infamy between the working centre and the outskirts. All round the Anglican church in the centre of the square ran a wide pavement on which were wooden benches. Here at night came hundreds of men, women and boys who had no resting-place. They spent half the night there until they were moved on by the police, when they went to a similar pavement with benches outside the Infirmary, meeting half-way their comrades in misery who had been moved on from that place—a sort of general post. In the day-time the square was always busy, for two main roads met in it, and tram-lines from four directions converged. Near at hand were many cheap shops, and the wives of the clerks came thither to make their daily purchases.

It was to this School of Art that Serge Folyat came as the result of his exhibition, which was an almost unredeemed failure. Beecroft banged the drum and old Lawrie blew the trumpet, but the local school of artists were contemptuous, and declared that the new genius could not draw. Serge quite agreed. He sold ten of his pictures, and went to see the disciple of William Morris and arranged to attend eight classes a week, four in the afternoon and four in the evening.