in its narrow, personal aspects, but in its broader, more universal significance. And art was not only his dominating interest but his chief diversion. He was something of an authority on Japanese and Chinese prints; he knew tapestries and ceramics; and once I heard him give an impromptu causerie to a few guests on Tanagra figurines, which, had it been transcribed, would have made a most delightful and instructive monograph.
Vance had sufficient means to indulge his instinct for collecting, and possessed a fine assortment of pictures and objets d’art. His collection was heterogeneous only in its superficial characteristics: every piece he owned embodied some principle of form or line that related it to all the others. One who knew art could feel the unity and consistency in all the items with which he surrounded himself, however widely separated they were in point of time or métier or surface appeal. Vance, I have always felt, was one of those rare human beings, a collector with a definite philosophic point of view.
His apartment in East Thirty-eighth Street—actually the two top floors of an old mansion, beautifully remodeled and in part rebuilt to secure spacious rooms and lofty ceilings—was filled, but not crowded, with rare specimens of oriental and occidental, ancient and modern, art. His paintings ranged from the Italian primitives to Cézanne and Matisse; and among his collection of original drawings were works as widely separated as those of Michelangelo and Picasso. Vance’s Chinese prints constituted one of the finest private collections in this country. They included beautiful examples of the work of Ririomin, Rianchu, Jinkomin, Kakei, and Mokkei.
“The Chinese,” Vance once said to me, “are the truly great artists of the East. They were the men whose work expressed most intensely a broad philosophic spirit. By contrast the Japanese were superficial. It’s a long step between the little more than decorative souci of a Hokusai and the profoundly thoughtful and conscious artistry of a Ririomin. Even when Chinese art degenerated under the Manchus, we find in it a deep philosophic quality—a spiritual sensibilité, so to speak. And in the modern copies of copies—what is called the bunjinga style—we still have pictures of profound meaning.”
Vance’s catholicity of taste in art was remarkable. His collection was as varied as that of a museum. It embraced a black-figured amphora by Amasis, a proto-Corinthian vase in the Aegean style, Koubatcha and Rhodian plates, Athenian pottery, a sixteenth-century Italian holywater stoup of rock crystal, pewter of the Tudor period (several pieces bearing the double-rose hallmark), a bronze plaque by Cellini, a triptych of Limoges enamel, a Spanish retable of an altarpiece by Vallfogona, several Etruscan bronzes, an Indian Greco Buddhist, a statuette of the Goddess Kuan Yin from the Ming Dynasty, a number of very fine Renaissance woodcuts, and several specimens of Byzantine, Carolingian, and early French ivory carvings.
His Egyptian treasures included a gold jug from Zakazik, a statuette of the Lady Nai (as lovely as the one in the Louvre), two beautifully carved steles of the First Theban Age, various small sculptures comprising rare representations of Hapi and Amset, and several Arrentine bowls carved with Kalathiskos dancers. On top of one of his embayed Jacobean bookcases in the library, where most of his modern paintings and drawings were hung, was a fascinating group of African sculpture—ceremonial masks and statuette fetishes from French Guinea, the Sudan, Nigeria, the Ivory Coast, and the Congo.
A definite purpose has animated me in speaking at such length about Vance’s art instinct, for, in order to understand fully the melodramatic adventures which began for him on that June morning, one must have a general idea of the man’s penchants and inner promptings. His interest in art was an important—one might almost say the dominant—factor in his personality. I have never met a man quite like him—a man so apparently diversified and yet so fundamentally consistent.
Vance was what many would call a dilettante. But the designation does him injustice. He was a man of unusual culture and brilliance. An aristocrat by birth and instinct, he held himself severely aloof from the common world of men. In his manner there was an indefinable contempt for inferiority of all kinds. The great majority of those with whom he came in contact regarded him as a snob. Yet there was in his condescension and disdain no trace of spuriousness. His snobbishness was intellectual as well as social. He detested stupidity even more, I believe, than he did vulgarity or bad taste. I have heard him on several occasions quote Fouché’s famous line: C’est plus qu’un crime; c’est une faute. And he meant it literally.
Vance was frankly a cynic, but he was rarely bitter; his was a flippant, Juvenalian cynicism. Perhaps he may best be described as a bored and supercilious, but highly conscious and penetrating, spectator of life. He was keenly interested in all human reactions; but it was the interest of the scientist, not the humanitarian. Withal he was a man of rare personal charm. Even people who found it difficult to admire him found it equally difficult not to like him. His somewhat quixotic mannerisms and his slightly English accent and inflection—a heritage of his postgraduate days at Oxford—impressed those who did not know him well as affectations. But the truth is, there was very little of the poseur about him.
He was unusually good-looking, although his mouth was ascetic and cruel, like the mouths on some of the Medici portraits2; moreover, there was a slightly derisive hauteur in the lift of his eyebrows. Despite the aquiline severity of his lineaments, his face was highly sensitive. His forehead was full and sloping—it was the artist’s, rather than the scholar’s, brow. His cold gray eyes were widely spaced. His nose was straight and slender, and his chin narrow but prominent, with an unusually deep cleft. When I saw John Barrymore recently in Hamlet, I was somehow reminded of Vance; and once before, in a scene of Caesar and Cleopatra played by Forbes-Robertson, I received a similar impression.3
Vance was slightly under six feet, graceful, and giving the impression of sinewy strength and nervous endurance. He was an expert fencer and had been the captain of the university’s fencing team. He was mildly fond of outdoor sports and had a knack of doing things well without any extensive practice. His golf handicap was only three; and one season he had played on our championship polo team against England. Nevertheless, he had a positive antipathy to walking and would not go a hundred yards on foot if there was any possible means of riding.
In his dress he was always fashionable—scrupulously correct to the smallest detail—yet unobtrusive. He spent considerable time at his clubs; his favorite was the Stuyvesant, because, as he explained to me, its membership was drawn largely from the political and commercial ranks, and he was never drawn into a discussion which required any mental effort. He went occasionally to the more modern operas and was a regular subscriber to the symphony concerts and chamber music recitals.
Incidentally, he was one of the most unerring poker players I have ever seen. I mention this fact not merely because it was unusual and significant that a man of Vance’s type should have preferred so democratic a game to bridge or chess, for instance, but because his knowledge of the science of human psychology involved in poker had an intimate bearing on the chronicles I am about to set down.
Vance’s knowledge of psychology was indeed uncanny. He was gifted with an instinctively accurate judgment of people, and his study and reading had coordinated and rationalized this gift to an amazing extent. He was well grounded in the academic principles of psychology, and all his courses at college had either centered about this subject or been subordinated to it. While I was confining myself to a restricted area of torts and contracts, constitutional and common law, equity, evidence, and pleading, Vance was reconnoitering the whole field of cultural endeavor. He had courses in the history of religions, the Greek classics, biology, civics, and political economy, philosophy, anthropology, literature, theoretical and experimental psychology, and ancient and modern languages.4 But it was, I think, his courses under Münsterberg and William James that interested him the most.
Vance’s mind was basically philosophical—that is, philosophical in the more
