Gaston was well in hand now, cooler even than his uncle.
“Perhaps you will sum up your criticism now, sir, to save future explanation; and then accept my apology.”
“To apologise for what no gentleman pardons or does, or acknowledges openly when done—H’m! Were it not well to pause in time, and go back to your wild North? Why so difficult a saddle—Tartarin after Napoleon? Think—Tartarin’s end!”
Gaston deprecated with a gesture: “Can I do anything for you, sir?”
His uncle now stood up, but swayed a little, and winced from sudden pain. A wave of malice crossed his face.
“It’s a pity we are relatives, with France so near,” he said, “for I see you love fighting.” After an instant he added, with a carelessness as much assumed as natural: “You may ring the bell, and tell Falby to come to my room. And because I am to appear at the flare-up to-night—all in honour of the prodigal’s son—this matter is between us, and we meet as loving relatives. You understand my motives, Gaston Robert Belward?”
“Thoroughly.”
Gaston rang the bell, and went to open the door for his uncle to pass out. Ian Belward buttoned his close-fitting coat, cast a glance in the mirror, and then eyed Gaston’s fine figure and well-cut clothes. In the presence of his nephew, there grew the envy of a man who knew that youth was passing while every hot instinct and passion remained. For his age he was impossibly young. Well past fifty he looked thirty-five, no more. His luxurious soul loathed the approach of age. Unlike many men of indulgent natures, he loved youth for the sake of his art, and he had sacrificed upon that altar more than most men-sacrificed others. His cruelty was not as that of the roughs of Seven Dials or Belleville, but it was pitiless. He admitted to those who asked him why and wherefore when his selfishness became brutality, that everything had to give way for his work. His painting of Ariadne represented the misery of two women’s lives. And of such was his kingdom of Art.
As he now looked at Gaston he was again struck with the resemblance to the portrait in the dining-room, with his foreign out-of-the-way air: something that should be seen beneath the flowing wigs of the Stuart period. He had long wanted to do a statue of the ill-fated Monmouth, and another greater than that. Here was the very man: with a proud, daring, homeless look, a splendid body, and a kind of cavalier conceit. It was significant of him, of his attitude towards himself where his work was concerned, that he suddenly turned and shut the door again, telling Falby, who appeared, to go to his room; and then said:
“You are my debtor, Cadet—I shall call you that: you shall have a chance of paying.”