thought Mother would have been dreadfully cross. But she wasn’t. She kept on laughing at Father.
“Oh, you dreadful boy!” said she. But she didn’t mean Sun.
“Come on, kiddies. Come and have some pickings,” said this jolly Father. But Moon stopped a minute.
“Mother—your dress is right off one side.”
“Is it?” said Mother. And Father said “Yes” and pretended to bite her white shoulder, but she pushed him away.
And so they went back to the beautiful dining-room.
But—oh! oh! what had happened. The ribbons and the roses were all pulled untied. The little red table napkins lay on the floor, all the shining plates were dirty and all the winking glasses. The lovely food that the man had trimmed was all thrown about, and there were bones and bits and fruit peels and shells everywhere. There was even a bottle lying down with stuff coming out of it on to the cloth and nobody stood it up again.
And the little pink house with the snow roof and the green windows was broken—broken—half melted away in the centre of the table.
“Come on, Sun,” said Father, pretending not to notice.
Moon lifted up her pyjama legs and shuffled up to the table and stood on a chair, squeaking away.
“Have a bit of this ice,” said Father, smashing in some more of the roof.
Mother took a little plate and held it for him; she put her other arm round his neck.
“Daddy. Daddy,” shrieked Moon. “The little handle’s left. The little nut. Kin I eat it?” And she reached across and picked it out of the door and scrunched it up, biting hard and blinking.
“Here, my lad,” said Father.
But Sun did not move from the door. Suddenly he put up his head and gave a loud wail.
“I think it’s horrid—horrid—horrid!” he sobbed.
“There, you see!” said Mother. “You see!”
“Off with you,” said Father, no longer jolly. “This moment. Off you go!”
And wailing loudly, Sun stumped off to the nursery.
FEUILLE D’ALBUM
HE really was an impossible person. Too shy altogether. With absolutely nothing to say for himself. And such a weight. Once he was in your studio he never knew when to go, but would sit on and on until you nearly screamed, and burned to throw something enormous after him when he did finally blush his way out—something like the tortoise stove. The strange thing was that at first sight he looked most interesting. Everybody agreed about that. You would drift into the café one evening and there you would see, sitting in a corner, with a glass of coffee in front of him, a thin, dark boy, wearing a blue jersey with a little grey flannel jacket buttoned over it. And somehow that blue jersey and the grey jacket with the sleeves that were too short gave him the air of a boy that has made up his mind to run away to sea. Who has run away, in fact, and will get up in a moment and sling a knotted handkerchief containing his nightshirt and his mother’s picture on the end of a stick, and walk out into the night and be drowned. . . . Stumble over the wharf edge on his way to the ship, even. . . . He had black close-cropped hair, grey eyes with long lashes, white cheeks and a mouth pouting as though he were determined not to cry. . . . How could one resist him? Oh, one’s heart was wrung at sight. And, as if that were not enough, there was his trick of blushing. . . . Whenever the waiter came near him he turned crimson—he might have been just out of prison and the waiter in the know. . . .
“Who is he, my dear? Do you know?”
“Yes. His name is Ian French. Painter. Awfully clever, they say. Someone started by giving him a mother’s tender care. She asked him how often he heard from home, whether he had enough blankets on his bed, how much milk he drank a day. But when she went round to his studio to give an eye to his socks, she rang and rang, and though she could have sworn she heard someone breathing inside, the door was not answered. . . . Hopeless!”
Someone else decided that he ought to fall in love. She summoned him to her side, called him “boy,” leaned over him so that he might smell the enchanting perfume of her hair, took his arm, told him how marvellous life could be if one only had the courage, and went round to his studio one evening and rang and rang. . . . Hopeless.
“What the poor boy really wants is thoroughly rousing,” said a third. So off they went to cafés and cabarets, little dances, places where you drank something that tasted like tinned apricot juice, but cost twenty-seven shillings a bottle and was called champagne, other places, too thrilling for words, where you sat in the most awful gloom, and where some one had always been shot the night before. But he did not turn a hair. Only once he got very drunk, but instead of blossoming forth, there he sat, stony, with two spots of red on his cheeks, like, my dear, yes, the dead image of that ragtime thing they were playing, like a “Broken Doll.” But when she took him back to his studio he had quite recovered, and said “good night” to her in the street below, as though they had walked home from church together. . . . Hopeless.
After heaven knows how many more attempts—for the spirit of kindness dies very hard in women—they gave him up. Of course, they were still perfectly charming, and asked him to their shows, and spoke to him in the café, but that was all. When one is an artist one has no time simply for people who won’t respond. Has one?
“And besides I really think there must be something rather fishy somewhere . . . don’t you? It can’t all be as innocent as it looks! Why come to Paris if you want to be a daisy in the field? No, I’m not suspicious. But——”
He lived at the top of a tall mournful building overlooking the river. One of those buildings that look so romantic on rainy nights and moonlight nights, when the shutters are shut, and the heavy door, and the sign advertising “a little apartment to let immediately” gleams forlorn beyond words. One of those buildings that smell so unromantic all the year round, and where the concierge lives in a glass cage on the ground floor, wrapped up in a filthy shawl, stirring something in a saucepan and ladling out tit-bits to the swollen old dog lolling on a bead cushion. . . . Perched up in the air the studio had a wonderful view. The two big windows faced the water; he could see the boats and the barges swinging up and down, and the fringe of an island planted with trees, like a round bouquet. The side window looked across to another house, shabbier still and smaller, and down below there was a flower market. You could see the tops of huge umbrellas, with frills of bright flowers escaping from them, booths covered with striped awning where they sold plants in boxes and clumps of wet gleaming palms in terra-cotta jars. Among the flowers the old women scuttled from side to side, like crabs. Really there was no need for him to go out. If he sat at the window until his white beard fell over the sill he still would have found something to draw. . . .
How surprised those tender women would have been if they had managed to force the door. For he kept his studio as neat as a pin. Everything was arranged to form a pattern, a little “still life” as it were—the saucepans with their lids on the wall behind the gas stove, the bowl of eggs, milk jug and teapot on the shelf, the books and the lamp with the crinkly paper shade on the table. An Indian curtain that had a fringe of red leopards marching round it covered his bed by day, and on the wall beside the bed on a level with your eyes when you were lying down there was a small
