Chapter 46
Clutton shrugged his shoulders, smoked a cigarette in silence, and went away. Philip and Lawson looked at one another.
"There's something in what he says," said Philip.
Lawson stared ill-temperedly at his picture.
"How the devil is one to get the intention of the soul except by painting exactly what one sees?"
About this time Philip made a new friend. On Monday morning models a.s.sembled at the school in order that one might be chosen for the week, and one day a young man was taken who was plainly not a model by profession. Philip's attention was attracted by the manner in which he held himself: when he got on to the stand he stood firmly on both feet, square, with clenched hands, and with his head defiantly thrown forward; the att.i.tude emphasised his fine figure; there was no fat on him, and his muscles stood out as though they were of iron. His head, close-cropped, was well-shaped, and he wore a short beard; he had large, dark eyes and heavy eyebrows. He held the pose hour after hour without appearance of fatigue. There was in his mien a mixture of shame and of determination.
His air of pa.s.sionate energy excited Philip's romantic imagination, and when, the sitting ended, he saw him in his clothes, it seemed to him that he wore them as though he were a king in rags. He was uncommunicative, but in a day or two Mrs. Otter told Philip that the model was a Spaniard and that he had never sat before.
"I suppose he was starving," said Philip.
"Have you noticed his clothes? They're quite neat and decent, aren't they?"
It chanced that Potter, one of the Americans who worked at Amitrano's, was going to Italy for a couple of months, and offered his studio to Philip.
Philip was pleased. He was growing a little impatient of Lawson's peremptory advice and wanted to be by himself. At the end of the week he went up to the model and on the pretence that his drawing was not finished asked whether he would come and sit to him one day.
"I'm not a model," the Spaniard answered. "I have other things to do next week."
"Come and have luncheon with me now, and we'll talk about it," said Philip, and as the other hesitated, he added with a smile: "It won't hurt you to lunch with me."
With a shrug of the shoulders the model consented, and they went off to a cremerie. The Spaniard spoke broken French, fluent but difficult to follow, and Philip managed to get on well enough with him. He found out that he was a writer. He had come to Paris to write novels and kept himself meanwhile by all the expedients possible to a penniless man; he gave lessons, he did any translations he could get hold of, chiefly business doc.u.ments, and at last had been driven to make money by his fine figure. Sitting was well paid, and what he had earned during the last week was enough to keep him for two more; he told Philip, amazed, that he could live easily on two francs a day; but it filled him with shame that he was obliged to show his body for money, and he looked upon sitting as a degradation which only hunger could excuse. Philip explained that he did not want him to sit for the figure, but only for the head; he wished to do a portrait of him which he might send to the next Salon.
"But why should you want to paint me?" asked the Spaniard.
Philip answered that the head interested him, he thought he could do a good portrait.
"I can't afford the time. I grudge every minute that I have to rob from my writing."
"But it would only be in the afternoon. I work at the school in the morning. After all, it's better to sit to me than to do translations of legal doc.u.ments."
There were legends in the Latin quarter of a time when students of different countries lived together intimately, but this was long since pa.s.sed, and now the various nations were almost as much separated as in an Oriental city. At Julian's and at the Beaux Arts a French student was looked upon with disfavour by his fellow-countrymen when he consorted with foreigners, and it was difficult for an Englishman to know more than quite superficially any native inhabitants of the city in which he dwelt.
Indeed, many of the students after living in Paris for five years knew no more French than served them in shops and lived as English a life as though they were working in South Kensington.
Philip, with his pa.s.sion for the romantic, welcomed the opportunity to get in touch with a Spaniard; he used all his persuasiveness to overcome the man's reluctance.
"I'll tell you what I'll do," said the Spaniard at last. "I'll sit to you, but not for money, for my own pleasure."
Philip expostulated, but the other was firm, and at length they arranged that he should come on the following
Miguel sat regularly, and though he refused to accept payment he borrowed fifty francs from Philip every now and then: it was a little more expensive than if Philip had paid for the sittings in the usual way; but gave the Spaniard a satisfactory feeling that he was not earning his living in a degrading manner. His nationality made Philip regard him as a representative of romance, and he asked him about Seville and Granada, Velasquez and Calderon. But Miguel had no patience with the grandeur of his country. For him, as for so many of his compatriots, France was the only country for a man of intelligence and Paris the centre of the world.
"Spain is dead," he cried. "It has no writers, it has no art, it has nothing."
Little by little, with the exuberant rhetoric of his race, he revealed his ambitions. He was writing a novel which he hoped would make his name. He was under the influence of Zola, and he had set his scene in Paris. He told Philip the story at length. To Philip it seemed crude and stupid; the naive obscenity--c'est la vie, mon cher, c'est la vie, he cried--the naive obscenity served only to emphasise the conventionality of the anecdote. He had written for two years, amid incredible hards.h.i.+ps, denying himself all the pleasures of life which had attracted him to Paris, fighting with starvation for art's sake, determined that nothing should hinder his great achievement. The effort was heroic.
"But why don't you write about Spain?" cried Philip. "It would be so much more interesting. You know the life."
"But Paris is the only place worth writing about. Paris is life."
One day he brought part of the ma.n.u.script, and in his bad French, translating excitedly as he went along so that Philip could scarcely understand, he read pa.s.sages. It was lamentable. Philip, puzzled, looked at the picture he was painting: the mind behind that broad brow was trivial; and the flas.h.i.+ng, pa.s.sionate eyes saw nothing in life but the obvious. Philip was not satisfied with his portrait, and at the end of a sitting he nearly always sc.r.a.ped out what he had done. It was all very well to aim at the intention of the soul: who could tell what that was when people seemed a ma.s.s of contradictions? He liked Miguel, and it distressed him to realise that his magnificent struggle was futile: he had everything to make a good writer but talent. Philip looked at his own work. How could you tell whether there was anything in it or whether you were wasting your time? It was clear that the will to achieve could not help you and confidence in yourself meant nothing. Philip thought of f.a.n.n.y Price; she had a vehement belief in her talent; her strength of will was extraordinary.
"If I thought I wasn't going to be really good, I'd rather give up painting," said Philip. "I don't see any use in being a second-rate painter."
Then one morning when he was going out, the concierge called out to him that there was a letter. n.o.body wrote to him but his Aunt Louisa and sometimes Hayward, and this was a handwriting he did not know. The letter was as follows:
Please come at once when you get this. I couldn't put up with it any more.
Please come yourself. I can't bear the thought that anyone else should touch me. I want you to have everything.
F. Price
I have not had anything to eat for three days.
Philip felt on a sudden sick with fear. He hurried to the house in which she lived. He was astonished that she was in Paris at all. He had not seen her for months and imagined she had long since returned to England. When he arrived he asked the concierge whether she was in.
"Yes, I've not seen her go out for two days."
Philip ran upstairs and knocked at the door. There was no reply. He called her name. The door was locked, and on bending down he found the key was in the lock.
"Oh, my G.o.d, I hope she hasn't done something awful," he cried aloud.
He ran down and told the porter that she was certainly in the room.
He had had a letter from her and feared a terrible accident. He suggested breaking open the door. The porter, who had been sullen and disinclined to listen, became alarmed; he could not take the responsibility of breaking into the room; they must go for the commissaire de police. They walked together to the bureau, and then they fetched a locksmith. Philip found that Miss Price had not paid the last quarter's rent: on New Year's Day she had not given the concierge the present which old-established custom led him to regard as a right. The four of them went upstairs, and they knocked again at the door. There was no reply. The locksmith set to work, and at last they entered the room. Philip gave a cry and instinctively covered his eyes with his hands. The wretched woman was hanging with a rope round her neck, which she had tied to a hook in the ceiling fixed by some previous tenant to hold up the curtains of the bed. She had moved her own little bed out of the way and had stood on a chair, which had been kicked away. It was lying on its side on the floor. They cut her down.
The body was quite cold.
XLIX
The story which Philip made out in one way and another was terrible. One of the grievances of the women-students was that f.a.n.n.y Price would never share their gay meals in restaurants, and the reason was obvious: she had been oppressed by dire poverty. He remembered the luncheon they had eaten together when first he came to Paris and the ghoulish appet.i.te which had disgusted him: he realised now that she ate in that manner because she was ravenous. The concierge told him what her food had consisted of. A bottle of milk was left for her every day and she brought in her own loaf of bread; she ate half the loaf and drank half the milk at mid-day when she came back from the school, and consumed the rest in the evening. It was the same day after day. Philip thought with anguish of what she must have endured. She had never given anyone to understand that she was poorer than the rest, but it was clear that her money had been coming to an end, and at last she could not afford to come any more to the studio. The little room was almost bare of furniture, and there were no other clothes than the shabby brown dress she had always worn. Philip searched among her things for the address of some friend with whom he could communicate. He found a piece of paper on which his own name was written a score of times.
It gave him a peculiar shock. He supposed it was true that she had loved him; he thought of the emaciated body, in the brown dress, hanging from the nail in the ceiling; and he shuddered. But if she had cared for him why did she not let him help her? He would so gladly have done all he could. He felt remorseful because he had refused to see that she looked upon him with any particular feeling, and now these words in her letter were infinitely pathetic: I can't bear the thought that anyone else should touch me. She had died of starvation.
Philip found at length a letter signed: your loving brother, Albert. It was two or three weeks old, dated from some road in Surbiton, and refused a loan of five pounds. The writer had his wife and family to think of, he didn't feel justified in lending money, and his advice was that f.a.n.n.y should come back to London and try to get a situation. Philip telegraphed to Albert Price, and in a little while an answer came:
"Deeply distressed. Very awkward to leave my business. Is presence essential. Price."
Philip wired a succinct affirmative, and next morning a stranger presented himself at the studio.
"My name's Price," he said, when Philip opened the door.
He was a commonish man in black with a band round his bowler hat; he had something of f.a.n.n.y's clumsy look; he wore a stubbly moustache, and had a c.o.c.kney accent. Philip asked him to come in. He cast sidelong glances round the studio while Philip gave him details of the accident and told him what he had done.
"I needn't see her, need I?" asked Albert Price. "My nerves aren't very strong, and it takes very little to upset me."