of that woman far more completely than if I had exposed her?'
'But she's a cheat,' cried Georgie. 'She's a liar, for she sent back our pictures with a formal notice that the committee had rejected them. She hasn't got any moral stuffing to take out.'
Lucia pondered this.
'That's true, there doesn't seem to be much,' she said. 'But even then, think of the moral stuffing that I've put into myself. A far greater score, Georgie, than to have exposed her, and it must be quite agonizing for her to have that hanging over her head. Besides, she can't help being deeply grateful to me if there are any depths in that poor shallow nature. There may be: we must try to discover them. Take a broader view of it all, Georgie . . . Oh, and I've thought of something fresh! Send round to Mr Wyse for the exhibition your picture of the Landgate, which poor Elizabeth sold. He will certainly hang it and she will see it there. That will round everything off nicely.'
Lucia moved across to the piano and sat down on the treble music-stool.
'Let us forget all about these piccoli disturbi, Georgie,' she said, 'and have some music to put us in tune with beauty again. No, you needn't shut the door: it is so hot, and I am sure that no one else will dream of passing that notice of "Private", or come in here unasked. Ickle bit of divine Mozartino?'
Lucia found the duet at which she had worked quietly at odd moments.
'Let us try this,' she said, 'though it looks rather diffy. Oh, one thing more, Georgie. I think you and I had better keep those formal notices of rejection from the hanging committee just in case. We might need them some day, though I'm sure I hope we shan't. But one must be careful in dealing with that sort of woman. That's all I think. Now let us breathe harmony and loveliness again. Uno, due . . . pom.'
Chapter Six
It was a mellow morning of October, the season, as Lucia reflected, of mists and mellow fruitfulness, wonderful John Keats. There was no doubt about the mists, for there had been several sea-fogs in the English Channel, and the mellow fruitfulness of the garden at Mallards was equally indisputable. But now the fruitfulness of that sunny plot concerned Lucia far more than it had done during August and September, for she had taken Mallards for another month (Adele Brixton having taken The Hurst, Riseholme, for three), not on those original Shylock terms of fifteen guineas a week, and no garden-produce — but of twelve guineas a week, and all the garden-produce. It was a wonderful year for tomatoes: there were far more than a single widow could possibly eat, and Lucia, instead of selling them, constantly sent little presents of them to Georgie and Major Benjy. She had sent one basket of them to Miss Mapp, but these had been returned and Miss Mapp had written an effusive note saying that they would be wasted on her. Lucia had applauded that; it showed a very proper spirit.
The chain of consequences, therefore, of Lucia's remaining at Mallards was far-reaching. Miss Mapp took Wasters for another month at a slightly lower rent, Diva extended her lease of Taormina, and Irene still occupied the four-roomed labourer's cottage outside Tilling, which suited her so well, and the labourer and his family remained in the hop-picker's shanty. It was getting chilly of nights in the shanty, and he looked forward to the time when, Adele having left The Hurst, his cottage could be restored to him. Nor did the chain of consequences end here, for Georgie could not go back to Riseholme without Foljambe, and Foljambe would not go back there and leave her Cadman, while Lucia remained at Mallards. So Isabel Poppit continued to inhabit her bungalow by the sea, and Georgie remained in Mallards Cottage. With her skin turned black with all those sun-baths, and her hair spiky and wiry with so many sea-baths, Isabel resembled a cross between a kipper and a sea-urchin.
September had been full of events. The Art Exhibition had been a great success, and quantities of the pictures had been sold. Lucia had bought Georgie's picture of Mallards, Georgie had bought Lucia's picture of Mallards Cottage, Mr Wyse had bought his wife's pastel of the King of Italy, and sent it as a birthday present to Amelia, and Susan Wyse had bought her husband's teacup and wallflower and kept them herself. But the greatest gesture of all had been Lucia's purchase of one of Miss Mapp's six exhibits, and this had practically forced Miss Mapp, so powerful was the suggestion hidden in it, to buy Georgie's picture of the Landgate, which he had given her, and which she had sold (not even for her own benefit but for that of the hospital) for sixpence at her jumble sale. She had had to pay a guinea to regain what had once been hers, so that in the end the revengeful impulse which had prompted her to put it in the sixpenny tray had been cruelly expensive. But she had still felt herself to be under Lucia's thumb in the whole matter of the exhibition (as indeed she was) and this purchase was of the nature of a propitiatory act. They had met one morning at the show, and Lucia had looked long at this sketch of Georgie's and then, looking long at Elizabeth, she had said it was one of the most charming and exquisite of his watercolours. Inwardly raging, yet somehow impotent to resist, Elizabeth had forked up. But she was now busily persuading herself that this purchase had something to do with the hospital, and that she need not make any further contributions to its funds this year: she felt there was a very good chance of persuading herself about this. No one had bought quaint Irene's pictures, and she had turned the women wrestlers into men.
Since then Miss Mapp had been very busy with the conversion of the marvellous crop of apples, plums and redcurrants in Diva's garden into jam and jelly. Her cook could not tackle so big a job alone, and she herself spent hours a day in the kitchen, and the most delicious odours of boiling preserves were wafted out of the windows into the High Street. It could not be supposed that they would escape Diva's sharp nose, and there had been words about it. But garden-produce (Miss Mapp believed) meant what it said, or would dear Diva prefer that she let the crop rot on the trees, and be a portion for wasps. Diva acknowledged that she would. And when the fruit was finished Miss Mapp proposed to turn her attention to the vegetable marrows, which, with a little ginger, made a very useful preserve for the household. She would leave a dozen of these pots for Diva.
But the jam-making was over now and Miss Mapp was glad of that, for she had scalded her thumb: quite a blister. She was even gladder that the Art Exhibition was over. All the important works of the Tilling school (except the pastel of the King of Italy) remained in Tilling, she had made her propitiatory sacrifice about Georgie's sketch of the Landgate, and she had no reason to suppose that Lucia had ever repented of that moment of superb magnanimity in the garden-room, which had averted an exposure of which she still occasionally trembled to think. Lucia could not go back on that now, it was all over and done with like the jam-making (though, like the jam-making, it had left a certain seared and sensitive place behind) and having held her tongue then, Lucia could not blab afterwards. Like the banns in church, she must for ever hold her peace. Miss Mapp had been deeply grateful for that clemency at the time, but no one could go on being grateful indefinitely. You were grateful until you had paid your debt of gratitude, and then you were free. She would certainly be grateful again, when this month was over and Lucia and Georgie left Tilling, never, she hoped, to return, but for the last week or two she had felt that she had discharged in full every groat of gratitude she owed Lucia, and her mind had been busier than usual over plots and plans and libels and inductions with regard to her tenant who, with those cheese-paring ways so justly abhorred by Miss Mapp, had knocked down the rent to twelve guineas a week and grabbed the tomatoes.
But Miss Mapp did not yet despair of dealing Lucia some nasty blow, for the fact of the matter was (she felt sure of it) that Tilling generally was growing a little restive under Lucia's autocratic ways. She had been taking them in hand, she had been patronizing them, which Tilling never could stand, she had been giving them treats, just like that! She had sent out cards for an evening-party (not dinner at all) with 'un po' di musica' written in the left-hand corner. Even Mr Wyse, that notorious sycophant, had raised his eyebrows over this, and had allowed that this was rather an unusual inscription: 'musica'
