Young Craven was very good-looking, and there was something interesting about his personality. His casual manner, which was nevertheless very polite, was attractive. His blue eyes and black hair gave him an almost romantic appearance. He was very quiet, but was certainly far from being cold. And he undoubtedly understood a great deal, and must have had many experiences of which he never talked. Miss Van Tuyn was subtle enough to know that he was subtle too. She had made up her mind to explore his subtlety. And now someone else was exploring it in Berkeley Square. The line reappeared in her low white forehead, and her cult for Lady Sellingworth, like flannel steeped in water, underwent a shrinking process. She felt strongly the indecency of grasping old age. And through her there floated strange echoes of voices which had haunted Lady Sellingworth’s youth, voices which had died away long ago in Berkeley Square, but which are captured by succeeding generations of women, and which persist through the ages, finding ever new dwellings.
The night was growing late, but the Georgians bitterly complained of the absurdity of London having a closing time. The heat and the noise seemed to swell with the passing of the hours, and a curious and anemic brutality dawned with the midnight upon many of the faces around the narrow tables. They looked at the same time bloodless and hard. Eyes full of languor, or feverish with apparent expectation of some impending adventure, stared fixedly through the smoke wreaths at other eyes in the distance. Loud voices hammered through the murk. Foreheads beaded with perspiration began to look painfully expressive. It was as if all faces were undressed.
Dick Garstin, the famous painter, a small, slight, clean-shaven man, who looked like an intellectual jockey with his powerful curved nose, thin, close-set lips, blue cheeks and prominent, bony chin, and who fostered the illusion deliberately by dressing in large-checked suits of a sporting cut, with big buttons and mighty pockets, kept on steadily drinking green chartreuse and smoking small, almost black, cigars. He was said to be made of iron, and certainly managed to combine perpetual dissipation with an astonishing amount of hard and admirable work. His models he usually found—or so he said—at the Cafe Royal, and he made a speciality of painting the portraits of women of the demi-monde, of women who drank, or took drugs, who were morphia maniacs, or were victims of other unhealthy and objectionable crazes. Nothing wholly sane, nothing entirely normal, nothing that suggested cold water, fresh air or sunshine, made any appeal to him. A daisy in the grass bored him; a gardenia emitting its strangely unreal perfume on a dung heap brought all his powers into play. He was an eccentric of genius, and in his strangeness was really true to himself, although normal people were apt to assert that his unlikeness to them was a pose. Simplicity, healthy goodness, the radiance of unsmirched youth seemed to his eyes wholly inexpressive. He loved the rotten as a dog loves garbage, and he raised it by his art to fascination. Even admirable people, walking through his occasional one-man exhibitions, felt a lure in his presentations of sin, of warped womanhood, and, gazing at the blurred faces, the dilated eyes, the haggard mouths, the vicious hands of his portraits, were shiveringly conscious of missed experiences, and for the moment felt ill at ease with what seemed just there, and just then, the dullness of virtue. The evil admired him because he made evil wonderful. To the perverse he was almost as a god.
Miss Van Tuyn was an admirer of Dick Garstin. She thought him a great painter, but apart from his gift his mind interested her intensely. He had a sort of melancholy understanding of human nature and of life, a strangely sure instinct in probing to the bottom of psychological mysteries, a cruelly sure hand in tearing away the veils which the victims hoped would shroud their weaknesses and sins. These gifts made her brain respect him, and tickled her youthful curiosity. It was really for Dick that she had specially wished Lady Sellingworth to join the Georgians that night. And now, in her secret vexation, she was moved to speak of the once famous Edwardian.
“Have you ever heard of Lady Sellingworth?” she said, leaning her elbow on the marble table in front of her, and bending towards Dick Garstin so that he might hear her through the uproar.
He finished one more chartreuse and turned his small black eyes upon her. Pin-points of piercing light gleamed in them. He lifted his large, coarse and capable painter’s hand to his lips, put his cigar stump between them, inhaled a quantity of smoke, blew it out through his hairy nostrils, and then said in a big bass voice:
“Never. Why should I have? I hate society women.”
Miss Van Tuyn suppressed a smile at the absurd and hackneyed phrase, which reminded her of picture papers. For a moment she thought of Dick Garstin as a sort of inverted snob. But she wanted something from him, so she pursued her conversational way, and inflicted upon him a rapid description of Lady Sellingworth, as she had been and as she was, recording the plunge from artificial youth into perfectly natural elderliness which had now, to her thinking, become definite old age.
The painter gave her a sort of deep and melancholy attention, keeping the two pin-points of light directed steadily upon her.
“Did you ever know a woman doing such a thing as that, Dick?” she asked. “Did you ever know of a woman clinging to her youth, and then suddenly, in a moment, flinging all pretence of it away from her?”