And then while the candle burnt out dead in the socket I sat in a waking dream.

III

The bright light of morning was pouring through the window. I gave a start of horror, and cried, 'Whose face?' Opposite to me there seemed to be sitting on a bed the figure of a man with a fiery cross upon his breast. That strange wild light upon the face, as it the pains at the heart were flickering up through the flesh—where had I seen it? For a moment when, in Switzerland, my father bared his bosom to me, that ancestral flame had flashed up into his dull lineaments. But upon the picture of 'The Sibyl' in the portrait-gallery that illumination was perpetual!

'It is merely my own reflex in a looking-glass,' I exclaimed.

Without knowing it I had slung the cross round my neck.

And then Sinfi Lovell's voice seemed murmuring in my ears, 'Fenella Stanley's dead and dust, and that's why she can make you put that cross in your feyther's tomb, and she will, she will.'

I turned the cross round: the front of it was now next to my skin. Sharp as needles were those diamond and ruby points as I sat and gazed in the glass. Slowly a sensation arose on my breast, of pain that was a pleasure wild and new. I was feeling the facet. But the tears trickling down, salt, through my moustache tears of laughter; for Sinfi Lovell seemed again murmuring, 'For good or for ill, you must dig deep to bury your daddy.'

What thoughts and what sensations were mine as I sat there, pressing the sharp stones into my breast, thinking of her to whom the sacred symbol had come, not as a blessing, but as a curse—what agonies were mine as I sat there sobbing the one word 'Winnie,'—could be understood by myself alone, the latest blossom of the passionate blood that for generations had brought bliss and bale to the Aylwins.

* * * * *

I cannot tell what I felt and thought, but only what I did. And while I did it my reason was all the time scoffing at my heart (for whose imperious behoof the wild, mad things I am about to record were done)—scoffing, as an Asiatic malefactor will sometimes scoff at the executioner whose pitiless and conquering saw is severing his bleeding body in twain. I arose and murmured ironically to Fenella Stanley as I wrapped the cross in a handkerchief and placed it in a hand-valise: 'Secrecy is the first thing for us sacrilegists to consider, dear Sibyl, in placing a valuable jewel in a tomb in a deserted church. To take any one into our confidence would be impossible; we must go alone. But to open the tomb and, close it again, and leave no trace of what has been done, will require all our skill. And as burglars' jemmies are not on open sale we must buy, on our way to the railway-station, screw-drivers, chisels, a hammer, and a lantern; for who should know better than you, dear Sibyl, that the palace of Nin-ki-gal is dark?'

IV

As I hurried towards the Great Eastern Railway station, I felt like a horse drawn by a Gypsy whisperer to do something against his own will, and yet in the street I stopped to buy the tools. Reaching Dullingham in the afternoon, I lunched there; and as I walked thence along the cliff, towards Raxton, I became more calm and collected. I determined not to go near the Hall, lest my movements should be watched by the servants. The old churchyard was full of workmen of the navvy kind, and I learned that for the safety of the public it had now become necessary to hurl down upon the sands some enormous masses of the cliff newly disintegrated by the land-springs. I descended the gangway at Flinty Point, and concealing my implements behind a boulder in the cliff, ascended Needle Point, and went into the town.

I had previously become aware, from conversations with my mother, that Wynne had been succeeded as custodian of the old church by Shales, the humpbacked tailor, and I apprehended no difficulty in getting the keys of the church and crypt from my simple-minded acquaintance, without arousing his suspicions as to my mission.

Therefore I went at once to the tailor's shop, but found that Shales was out, attending an annual Odd-Fellows' carousal at Graylingham. Consequently I was obliged to open my business to his mother, a far shrewder person, and one who might be much more difficult to deal with. However, the fact of the navvies being at work so close to a church whose chancel belonged to my family afforded an excellent motive for my visit. But before I could introduce the subject to Mrs. Shales, I had to listen to an exhaustive chronicle of Raxton and Graylingham doings since I had left. Hence by the time I quitted her (with a promise to return the keys in the morning) the sun was setting.

But, as I walked along Wilderness Road towards the church, a new and unexpected difficulty presented itself to my mind. I could not, without running the risk of an interruption, enter the church till after the Odd-Fellows had all returned from Graylingham, as Shales and his companions would have to pass along Wilderness Road, which skirts the churchyard. Shales himself was as short-sighted as a bat; but his companions had the usual long-sight of agriculturists, and would descry the slightest movement in the church-yard, or any glimmer of light at the church windows.

I would have postponed my enterprise till the morrow; but another important appointment at the office of our solicitor with my mother, precluded the possibility of this. So my visit to the catacomb must perforce be late at night.

Accordingly I descended the cliff and waited to hear the return of the carousers. There I sat down upon the well-remembered boulder, lost in recollections of all that had passed on those sands, while over the sea the night spread like the widening, darkening wings of an enormous spectral bird, whose brooding voice was the drone of the waves as they came nearer and nearer. Then I began to think of what lay before me, of the strangeness and wildness of my life.

Then I recalled, with a shudder I could not repress, those sepulchral chambers beneath the church, which, owing, I believe, to the directions in an ancestor's will, had been the means of saving it from demolition after a large portion of the churchyard bad been condemned as dangerous. Raxton church is the only one along the coast that can boast a crypt: all the churches are Perpendicular in style, too late for crypts; a fact which is supposed to indicate that Raxton was, in very early times, a seaside town of great importance; for the crypt is much older than the church, and of an entirely different kind of architecture. It was once a depository for the bones of Danish warriors killed before the Norman Conquest; it extends not only beneath the chancel, as in most cases, but beneath both the transepts. The vaulting (supported partly on low columns of remarkable beauty and partly on the basement wall of the church) is therefore of unusual extent. The external door in the churchyard is now hidden by drifted sand and mould. Many years ago, to give place to the tombs and coffins of my family, the bones of the old Danes were piled together in various corners; and the thought of these bones called up the picture of the abode of 'Nin-ki-gal,' the Queen of Death,

Ghosts, like birds, flutter their wings there; On the gate and the gate-posts the dust lies undisturbed.

Then my mind began to make pictures for itself of my father lying in his coffin. I have, I think, already said that his body had been embalmed, in order to allow of its being conveyed from Switzerland to England. Therefore I had no dread of being confronted by that attribute of Death alluded to by D'Arcy which is the most cruel and terrible of all—corruption. But then what change should I find in the expression of those features which on the day of the interment had looked so calm? A thrill ran through my frame as I pictured myself raising the coffin-lid, and finding expressed upon the face, in language more appalling than any malediction in articulate speech—the curse!

At about ten o'clock I mounted the gangway and waited behind a deserted bungalow built for Fenella Stanley till I should hear the Odd-Fellows returning. In a few minutes I heard them approaching. They were singing snatches of songs they had been entertained with at Graylingham, and chatting and laughing as they went down Wilderness Road towards Raxton. As they passed the bungalow and adjoining mill there was a silence.

I heard one man say: ''Ez Tom Wynne's ghooast bin seen here o' late?'

'Nooa, but the Squoire's 'ez,' said another.

'I say they've both on 'em bin seed,' exclaimed a third voice, which I recognised to be that of old Lantoff of the 'Fishing Smack'—'leaseways, if they ain't bin seed they've bin 'eeared. One Saturday arternoon old Sal Gunn wur in the church a-cleanin' The Hall brasses, an' jist afore sundown, as she wur a-comin' away, she 'eeared a awful scrimmage an squealin' in the crypt, and she 'eeared the v'ice o' the Squoire a-callin' out, and she 'eeared Tom Wynne's v'ice a-cussin' an' a-swearin' at 'im. And more nor that, Sal told me that on the night when the Squoire wur buried, she seed Tom a-draggin' the Squoire's body along the churchyard to the cliff; only she never spoke on it at the time. And Sal says she larnt in a dream that the moment as Tom went and laid 'is 'and on that 'ere dimind cross in the coffin, up springs Squoire and claps 'old o' Tom's throat, and Tom takes 'old on him, and drags him out o' the church, meanin' to chuck him over the cliffs, when God o' mighty, as wur a-keepin' 'is eye on Tom all the time, he jist lets go o' the cliffs and down they falls, and kills Tom, an' buries him an' Squoire tew.'

'Did you say Sal seed all that in a dream? or did she see it in ole ale, Muster Lantoff?' said Shales.

'Well,' replied Lantoff, as the party turned past the bungalow, 'p'raps it wur ole ale as made me see in this very bungaler when I wur a bor the ghooast o' the great Gypsy lady whose pictur hangs up at the Hall, her as they used to call the old Squoire's Witch-wife.' Soon the singing and laughing were renewed; and I stood and listened to the sounds till they died away in the distance. Then I unlocked the church door and entered.

V

As I walked down an aisle, the echoes of my footsteps seemed almost loud enough to be heard on the Wilderness Road. No one could have a more contemptuous disbelief in ghosts than I, and yet the man's words about the ghost of Fenella Stanley haunted me. When I reached the heavy nailed door leading down to the crypt, I lit the lantern. The rusty key turned so stiffly in the lock, that, to relieve my hands (which were burdened with the implements I had brought), I slung the hair-chain of the cross around my neck, intending merely to raise the coffin-lid sufficiently high to admit of my slipping the amulet in.

Having, with much difficulty, opened the door, I entered the crypt. The atmosphere, though not noisome, was heavy, and charged with an influence that worked an extraordinary effect upon my brain and nerves. It was as though my personality were becoming dissipated, until at last it was partly the reflex of ancestral experiences. Scarcely had this mood passed before a sensation came upon me of being fanned as if by clammy bat-like wings; and then the idea seized me that the crypt scintillated with the eyes of a malignant foe. It was as if the curse which, until I heard Winnie a beggar singing in the street, had been to me but a collocation of maledictory words, harmless save in their effect upon her superstitious mind, had here assumed an actual corporeal shape. In the uncertain light shed by the lantern, I seemed to see the face of this embodied curse with an ever-changing mockery of expression; at one moment wearing the features of my father; at another those of Tom Wynne; at another the leer of the old woman I had seen in Cyril's studio.

'It is an illusion,' I said, as I closed my eyes to shut it out; 'it is an illusion, born of opiate fumes or else of an over-taxed brain and an exhausted stomach.' Yet it disturbed me as much as if my reason had accepted it as real. Against this foe I seemed to be fighting towards my father's coffin as a dreamer lights against a nightmare, and At last I fell over one of the heaps of old Danish bones in a corner of the crypt. The candle fell from my lantern, and I was in darkness. As I sat there I passed into a semi-conscious state. I saw sitting at the apex of a towering pyramid, built of phosphorescent human bones that reached far, far above the stars, the 'Queen of Death, Nin-ki-gal,' scattering seeds over the earth below. At the pyramid's base knelt the suppliant figure of a Sibyl pleading with the Queen of Death:

What answer, O Nin-ki-gal? Have pity, O Queen of Queens!

And the Sibyl's face was that of Fenella Stanley—her voice was that of Sinfi Lovell.

And then from that dizzy height seemed to come a cackling laugh:—

'You makes me blush, an' blow me if blushin' ain't bin an' made t'other eye dry. I lives in Primrose Court, Great Queen Street, an' my reg'lar perfession is a-sellin' coffee "so airly in the mornin'," and I've got a darter as ain't quite so 'ansom as me, bein' the moral of her father.'

And now in my vision I perceived that Nin-ki-gal's face was that of the old woman I had seen in Cyril's studio, and that she was dressed in the same fantastic in which Cyril had bedizened her.

VI

I sprang up, struck a light and relit the candle, and soon reached the coffin resting on a stone table. I found, on examining it, that although it had been screwed down after the discovery of the violation, the work had been so loosely done that a few turns of the screwdriver were sufficient to set the lid free. Then I paused; for to raise the loosened lid (knowing as I did that it was only the blood's inherited follies that had conquered my rationalism and induced me to disturb the tomb) seemed to require the strength of a giant. Moreover, the fantastic terror of old Lantoff's story, which at another time would have made me smile, also took bodily shape, and the picture of a dreadful struggle at the edge of the cliff between Winnie's father and mine seemed to hang in the air—a fascinating mirage of ghastly horror.

* * * * *

At last, by an immense effort of will, I closed my eyes and pushed the lid violently on one side.

* * * * *

The 'sweet odours and divers kinds of spices' of the Jewish embalmer rose like a gust of incense—rose and spread through the crypt like the sweet breath of a new-born blessing, till the air of the charnel-house seemed laden with a mingled odour of indescribable sweetness. Never had any odour so delighted my senses; never had any sensuous influence so soothed my soul.

While I stood inhaling the scents of opobalsam, and cinnamon and myrrh, and wine of palm and oil of cedar, and all the other spices of the Pharaohs, mingled in one strange aromatic cloud, my personality seemed again to become, in part, the reflex of ancestral experiences.

I opened my eyes. I looked into the coffin. The face (which had been left by the embalmer exposed) confronted mine. 'Fenella Stanley!' I cried, for the great transfigurer Death had written upon my father's brow that self-same message which the passions of a thousand Romany ancestors had set upon the face of her whose portrait hung in the picture-gallery. And the rubies and diamonds and beryls of the cross as it now hung upon my breast, catching the light of the opened lantern in my left hand, shed over the features an indescribable reflex hue of quivering rose.

Beneath his head I placed the silver casket: I hung the hair-chain round his neck: I laid upon his breast the long-loved memento of his love and the parchment scroll.

Then I sank down by the coffin, and prayed. I knew not what or why. But never since the first human prayer was breathed did there rise to heaven a supplication so incoherent and so wild as mine. Then I rose, and laying my hand upon my father's cold brow, I said: 'You have forgiven me for all the wild words that I uttered in my long agony. They were but the voice of intolerable misery rebelling against itself. You, who suffered so much—who know so well those flames burning at the heart's core—those flames before which all the forces of the man go down like prairie-grass before the fire and wind—you have forgiven me. You who knew the meaning of the wild word Love—you have forgiven your suffering son, stricken like yourself. You have forgiven me, father, and forgiven him, the despoiler of your tomb: you have removed the curse, and his child—his innocent child—is free.'

I replaced the coffin-lid, and screwing it down left the crypt, so buoyant and exhilarated that I stopped in the churchyard and asked myself: 'Do I, then, really believe that she was under a curse? Do I really relieve that my restoring the amulet has removed it? Have I really come to this?'

Throughout all these proceedings—yes, even amidst that prayer to Heaven, amidst that impassioned appeal to my dead father—had my reason been keeping up that scoffing at my heart which I have before described.

I knocked up the landlord of the 'White Hart,' and, turning into bed, slept my first peaceful sleep since my trouble.

To escape awkward questions, I did not in the morning take back the keys to Shales's house myself, but sent them, and walking to Dullingham took the train to London.



X

BEHIND THE VEIL

I

When I met my mother at the solicitor's office next day, she was astonished at my cheerfulness and at the general change in me. As we left the office together, she said,

'Everything is now arranged: your aunt and I have decided to accept Lord Sleaford's invitation to go for a cruise in his yacht. We leave to-morrow evening. Lord Sleaford has promised to take me to-morrow afternoon to Mr. Wilderspin's studio, to see the great painter's portrait of me, which is now, I understand, quite finished.'

'Why did you not ask me to accompany you, instead of asking Sleaford?'

'I did not know that you would care to do so.' 'Dear mother,' I said, in a tender tone that startled her, 'you must let me go with you and Sleaford to the studio.'

She consented, and on the following afternoon I called at my aunt's house in Belgrave Square. The hall was full of portmanteaux, boxes, and packages. Sleaford had already arrived, and was waiting with stolid patience for my mother, who had gone to her room to dress. He began to talk to me about the astonishing gifts of Cyril Aylwin.

'Have you made an appointment with Wilderspin?' I said to my mother, when she entered the room. 'The last time I saw him he seemed to be much occupied with some disturbing affairs of his own.'

'Appointment? No,' said she, with an air that seemed to imply that an Aylwin, even with Gypsy blood in his veins, in calling upon Art, was conferring upon it a favour to be welcomed at any time.

'I have not seen this portrait yet,' said Sleaford, as the carriage moved off; 'but Cyril Aylwin says it is magnificent, and if anybody knows what's good and what's bad it's Cyril Aylwin.'

'Do you know,' said my mother to me, 'I have taken vastly to this eccentric kinsman of ours? I had really no idea that a bohemian could be so much like a gentleman; but, of course, an Aylwin must always be an Aylwin.'

'Haw, haw!' laughed Sleaford to himself, 'that's good about Cyril Aylwin though—that's dooced good.'

'We shall see Wilderspin's great picture, "Faith and Love," at the same time,' I said, as we approached Chelsea; 'for Wilderspin tells me that he has borrowed it from the owner to make a replica of it.'

'That is very fortunate,' said my mother. 'I have the greatest desire to see this picture and its wonderful predella. Wilderspin is one of the few painters who revert to the predella of the old masters. He is said to combine the colour of him whom he calls "his master" with the draughtsmanship and intellect of Shields, whose stained-glass windows the owner was showing me the other day at Eaton Hall; and do you know, Henry, that the painter of this wonderful "Faith and Love" is never tired of declaring that the subject was inspired by your dear father?'

When we reached the studio the servant said that Mr. Wilderspin was much indisposed that afternoon, and was also just getting ready to go to Paris, where he was to join Mr. Cyril in his studio; 'but perhaps he would see us,'—an announcement that brought a severe look to my mother's face, and another half-suppressed 'Haw, haw!' from Sleaford's deep chest.

Mounting the broad old staircase, we found ourselves in the studio of the famous spiritualist-painter—one of two studios; for Wilderspin had turned two rooms communicating with each other by folding-doors into a sort of double studio. One of these rooms, which was of moderate size, fronted the north-east, the other faced the south-west. There were (as I soon discovered) easels in both. It was the smaller of these rooms into which we were now shown by the servant. The walls were covered with sketches and drawings in various stages, and photographs of sculpture.

'By Jove, that's dooced like!' said Sleaford, pointing to my mother's portrait, which was standing on the floor, as though just returned from the frame-maker's: 'ask Cyril Aylwin if it ain't when you see him.'

It was a truly magnificent painting, but more full of imagination than of actual portraiture.

One of the windows was open, and the noise of an anvil from a blacksmith's shop in Maud Street came into the room.

'Do you know,' said my mother in an undertone, 'that this strange genius can only, when in London, work to the sound of a blacksmith's anvil? Nothing will induce him to paint a portrait out of his own studio; and I observed, when I was sitting to him here, that sometimes when the noise from the anvil ceased he laid down his brush and waited for the hideous din to be resumed.

Wilderspin now came through the folding-doors, and greeted us in his usual simple, courteous way. But I saw that he was in trouble. 'The portrait will look better yet,' he said. 'I always leave the final glazing till the picture is in the frame.'

After we had thoroughly examined the portrait, we turned to look at a large canvas upon an easel. Wilderspin had evidently been working upon it very lately.

'That's "Ruth and Boaz," don't you know?' said Sleaford. 'Finest crop of barley I ever saw in my life, judgin' from the size of the sheaves. Barley paid better than wheat last year. So the farmers all say.'

'Don't look at it,' said Wilderspin. 'I have been taking out part of Ruth, and was just beginning to repaint her from the shoulders upwards. It will never be finished now,' he continued with a sigh.

We asked him to allow us to see 'Faith and Love.'

'It is in the next room,' said he, 'but the predella is here on the next easel. I have removed it from underneath the picture to work upon.'

'The head of Ruth has been taken out,' said my mother, turning to me: 'but isn't it like an old master? You ought to see the marvellous Pre-Raphaelite pictures at Mr. Graham's and Mr. Leyland's, Henry.'

'Pre-Raphaelites?' said Wilderspin, 'the Master rhymes, madam, and Burne-Jones actually reads the rhymes! However, they are on the right track in art, though neither has the slightest intercourse with the spirit world, not the slightest.'

'My exploits as a painter have not been noticeable as yet,' I said; 'but an amateur may know what a barley-field is. That is one before us. He may know what a man in love is; Boaz there is in love.'

'I wish we could see the woman's face,' said Sleaford. 'A woman, you know, without a face—'

'Come and see the predella of "Faith and Love,"' said Wilderspin, and he moved towards an easel where rested the predella, a long narrow picture without a frame. My mother followed him, leaving me standing before the picture of 'Ruth and Boaz.' Although the head of Ruth had been painted out, the picture seemed to throb with life. Boaz had just discovered the Moabitish maiden in the gleaming barley-field, as she had risen from stooping to glean the corn. Two ears of barley were in one hand. In the face of Boaz was an expression of surprise, and his eyes were alight with admiration. The picture was finished with the exception of the face of Ruth, which was but newly sketched in. Wilderspin had contrived to make her attitude and even the very barley-ears in her hand (one of which was dangling between her slender fingers in the act of falling) express innocent perturbation and girlish modesty.

II

At length I joined the others, who were standing before the easel, looking at the predella which, as Wilderspin again took care to tell us, had been removed from the famous picture of 'Faith and Love' we were about to see in the next room—'the culmination and final expression of the Renascence of Wonder in Art.'

'Perhaps it is fortunate,' said he, 'that I happen to be working at this very time upon the predella, which acts as a key to the meaning of the design. You will now have the advantage of seeing the predella before you see the picture itself. And really it would be to the advantage of the picture if every one could see it under like circumstances; it would add immensely to the effect of the design. Look well and carefully at the predella first. Try to imagine the Oriental Queen behind that veil, then observe the way in which the features are expressed through the veil; and then, but not till then, come into the adjoining room and see the picture itself, see what Isis really is (according to the sublime idea of Philip Aylwin) when Faith and Love, the twin angels of all true art, upraise the veil.'

He then turned and passed through the folding-doors into a room of great size, crowded with easels, upon which pictures were resting.

The predella before me seemed a miracle of imaginative power. At that time I had not seen the work of the great poet-painter of modern times whom Wilderspin called 'the Master,' and by whom he had been unconsciously inspired.

'Most beautiful!' my mother ejaculated, as we three lingered before the predella. 'Do look at the filmy texture of the veil.'

'Looks more like steam than a white veil, don't you know?' said Sleaford.

'Like steam, my lord?' exclaimed Wilderspin from the next room. 'The painter of that veil had peculiar privileges. As a child he had been in the habit of watching a face through the curtain of steam around a blacksmith's forge when hot iron is plunged into the water-trench, and the face, my lord, though begrimed by earthly toil, was an angel's. No wonder, then, that the painting in that veil is unique in art. The flesh-tints that are pearly and yet rosy seem, as you observe, to be breaking through it, and yet you cannot say what is the actual expression on the face. But now come and see the picture itself.'

My mother and Sleaford lingered for a moment longer, and then passed between the folding-doors.

But I did not follow them; I could not. For now there was something in the predella before me which fascinated me, I scarcely knew why. It was the figure of the queen—the figure between the two sleeping angels—the figure behind the veil, and expressed by the veil—that enthralled me.

There was a turn about the outlined neck and head that riveted my gaze; and, as I looked from these to the veil falling over the face, a vision seemed to be rapidly growing before my eyes—a vision that stopped my breath—a vision of a face struggling to express itself through that snowy film—whose face?

* * * * *

'In the crypt my senses had a kind of license to play me tricks,' I murmured; 'but now and here my reason shall conquer.'

And I stood and gazed at the veil. During all the time I could hear every word of the talk between Wilderspin, Sleaford, and my mother before the picture in the other room.

'Awfully fine picture,' said Sleaford, 'but the Queen there—Isis: more like a European face than an Egyptian. I've been to Egypt a good deal, don't you know?'

'This is not an historical painting, my lord. As Philip Aylwin says, "the only soul-satisfying function of art is to give what Zoroaster calls 'apparent pictures of unapparent realities.'" Perfect beauty has no nationality; hers has none. All the perfections of woman culminate in her. How can she then be disfigured by paltry characteristics of this or that race or nation? In looking at that group, my lord, nationality is forgotten, and should be forgotten. She is the type of Ideal Beauty whose veil can never be raised save by the two angels of all true art, Faith and Love. She is the type of Nature, too, whose secret, as Philip Aylwin says, "no science but that of Faith and Love can read."'

'Seems to be the type of a good deal; but it's all right, don't you know? Awfully fine picture! Awfully fine woman!' said Sleaford in a conciliatory tone. 'She's a good deal fairer, though, than any Eastern women I've seen; but then I suppose she has worn a veil al her life up to now. Most of 'em take sly peeps, and let in the hot Oriental sun, and that tans 'em, don't you know?'

'And the original of this face?' I heard my mother say in a voice that seemed agitated; 'could you tell me something about the original of this remarkable face?' 'The model?' said Wilderspin. 'We are not often asked about our models, but a model like that would endow mediocrity itself with genius, for, though apparently, and by way of beneficent illusion, the daughter of an earthly costermonger, she was a wanderer from another and a better world. She is not more beautiful here than when I saw her first in the sunlight on that memorable day, at the corner of Essex Street, Strand, bare-headed, her shoulders shining like patches of polished ivory here and there through the rents in her tattered dress, while she stood gazing before her, murmuring a verse of Scripture, perfectly unconscious whether she was dressed in rags or velvet; her eyes—'

'The eyes—it is the eyes, don't you know—it is the eyes that are not quite right,' said Sleaford. 'Blue eyes with black eyelashes are awfully fine; you don't see 'em in Egypt. But I suppose that's the type of something too. Types always floor me, don't you know?'

'But the scene is no longer Egypt, my lord; it is Corinth,' replied Wilderspin.

During this dialogue I stood motionless before the predella: I could not stir; my feet seemed fixed in the floor by what can only be described as a wild passion of expectation. As I stood there a marvellous change appeared to be coming over the veiled figure of the predella. The veil seemed to be growing more and more filmy—more and more like the 'steam' to which Sleaford had compared it, till at last it resolved itself into a veil of mist—into the rainbow-tinted vapours of a gorgeous mountain sunrise—and looking straight at me were two blue eyes sparkling with childish happiness and childish greeting, through flushed mists across a pool on Snowdon.

That she was found at last my heart knew, though my brain was dazed. That in the next room, within a few yards of me, my mother and Sleaford and Wilderspin were looking at the picture of Winifred's face unclouded by the veil, my heart knew as clearly as though my eyes were gazing at it, and yet I could not stir. Yes, I knew that she was now neither a beggar in the street, nor a prisoner in one of the dens of London, nor starving in a squalid garret, but was safe under the sheltering protection of a good man. I knew that I had only to pass between those folding-doors to see her in Wilderspin's picture—see her dressed in the 'azure-coloured tunic bordered with stars,' and the upper garment of the 'colour of the moon at moonrise,' which Wilderspin had so vividly described in Wales; and yet, paralysed by expectation, I could not stir.

III

Soon I was conscious that my mother, Sleaford, and Wilderspin were standing by my side, that Wilderspin's hand was laid on my arm, and that I was pointing at the predella—pointing and muttering,

'She lives! She is saved.'

My mother led me into the other studio, and I stood before the great picture. Wilderspin and Sleaford, feeling that something had occurred of a private and delicate nature, lingered out of hearing in the smaller studio.

'I must be taken to her at once,' I muttered to my mother; 'at once.'

So living was the portrait of Winifred that I felt that she must be close at hand. I looked round to see if she herself were not standing by me dressed in the dazzling draperies gleaming from Wilderspin's superb canvas.

But in place of Winifred the profile of my mother's face, cold, proud, and white, met my gaze. Again did the stress of overmastering emotion make of me a child, as it had done on the night of the landslip. 'Mother!' I said, 'you see who it is?'

She made no answer: she stood looking steadfastly at the picture; but the tremor of the nostrils, the long deep breaths she drew, told me of the fierce struggle waging within her breast between conscience and pity, with rage and cruel pride. My old awe of her returned. I was a little boy again, trembling for Winnie. In some unaccountable and, I believe, unprecedented way I had always felt that she, my own mother, belonged to some haughty race superior to mine and Winnie's; and nothing but the intensity of my love for Winnie could ever have caused me to rebel against my mother.

'Dear mother,' I murmured, 'all the mischief and sorrow and pain are ended now; and we shall all be happy; for you have a kind heart, dear, and cannot help loving poor Winnie, when you come to know her.'

She made no answer save that her lips slowly reddened again after the pallor; then came a quiver in them, as though pity were conquering pride within her breast, and then that contemptuous curl that had often in the past cowed the heart of the fearless and pugnacious boy whom no peril of sea or land could appal.

'She is found,' I said. 'And, mother, there is no longer an estrangement between you and me. I forgive you everything now.'

I leapt from her as though I had been stung, so sudden and unexpected was the look of scorn that came over her face as she said, 'You forgive me!' It recalled my struggle with her on that dreadful night: and in a moment I became myself again. The pleading boy became, at a flash, the stern and angry man that misery had made him. With my heart hedged once more with points of steel to all the world but Winnie, I turned away. I did not know then that her attitude towards me at this moment came from the final struggle in her breast between her pride and that remorse which afterwards took possession of her and seemed as though it would make the remainder of her life a tragedy without a smile in it. At that moment Wilderspin and Sleaford came in from the smaller studio. 'Where is she?' I said to Wilderspin. 'Take me to her at once—take me to her who sat for this picture. It is she whom I and Sinfi Lovell were seeking in Wales.'

A look of utter astonishment, then one of painful perplexity, came over his face—a look which I attributed to his having heard part of the conversation between my mother and myself.

'You mean the—the—model? She is not here, Mr. Aylwin,' said he. 'The same young lady you were seeking in Wales! Mysterious indeed are the ways of the spirit world!' and then his lips moved silently as though in prayer.

'Where is she?' I asked again.

'I will tell you all about her soon—when we are alone,' he said in an undertone. 'Does the picture satisfy you?'

The picture! He was thinking of his art. Amid all that gorgeous pageant in which mediaeval angels; were mixed with classic youths and flower-crowned; maidens, in such a medley of fantastic beauty as could never have been imagined save by a painter; who was one-third artist, one-third madman, and one-third seer—amid all the marvels of that strange, uncanny culmination of the neo-Romantic movement in Art which had excited the admiration of one set of the London critics and the scorn of others, I had really and fully seen but one face—the face of Isis, or Pelagia, or Eve, or Natura Benigna, or whosoever she was looking at me with those dear eyes of Winnie's which were my very life—looking at me with the same bewitching, indescribable expression that they wore when she sat with her 'Prince of the Mist' on Snowdon. I tried to take in the ensemble. In vain! Nothing but the face and figure of Winifred—crowned with seaweed as in the Raxton photograph—could stay for the thousandth part of a second upon my eyes.

'Wilderspin,' I said, 'I cannot do the picture justice at this moment. I must see it again—after I have seen her. Where is she? Can I not see her now?'

'You cannot.'

'Can I not see her to-day?'

'You cannot. I will tell you soon, and I have much to tell you,' said Wilderspin, looking uneasily round at my mother, who did not seem inclined to leave us. 'I will tell you all about her when—when you are sufficiently calm.'

'Tell me now,' I said.

'Gad! this is a strange affair, don't you know? It would puzzle Cyril Aylwin himself,' said Sleaford. 'What the dooce does it all mean?'

'Is she safe?' I cried to Wilderspin.

There was a pause.

'Is she safe?' I cried again.

'Quite safe,' said Wilderspin, in a tone whose solemnity would have scared me had the speaker been any other person than this eccentric creature. 'When you are less agitated, I will tell you all about her.'

'No! now, now!'

IV

'Well, Mr. Aylwin,' said Wilderspin, 'when I first saw your father's book, The Veiled Queen, it was the vignette on the title-page that attracted me. In the eyes of that beautiful child-face, even as rendered by a small reproduction, there was the very expression that my soul had been yearning after—the expression which no painter of woman's beauty had ever yet caught and rendered. I felt that he who could design or suggest to a designer such a vignette must be inspired, and I bought the book: it was as an artist, not as a thinker, that I bought the book for the vignette. When, on reading it, I came to understand the full meaning of the design, such sweet comfort and hope did the writer's words give me, that I knew at once who had impressed me to read it—I knew that my mission in life was to give artistic development to the sublime ideas of Philip Aylwin. I began the subject of "Faith and Love." But the more I tried to render the expression that had fascinated me the more impossible did the task seem to me. Howsoever imaginative may be any design, the painter who would produce a living picture must paint from life, and then he has to fight against his model's expression. Do you remember my telling you the other day how the spirit of Mary Wilderspin in heaven came upon me in my sore perplexity and blessed me—sent me a spiritual body—led me out into the street, and—'

'Yes, yes, I remember; but what happened?'

'We will sit,' said Wilderspin.

He placed chairs for us, and I perceived that my mother did not intend to go.

'Well,' he continued, 'on that sunny morning I was impressed to leave my studio and go out into the streets. It was then that I found what I had been seeking,—the expression in the beautiful child-face off the vignette.'

'In the street!' I heard my mother say to herself. 'How did it come about?' she asked aloud.

'It had long been my habit to roam about the streets of London whenever I could afford the time to do so, in the hope of finding what I sought, the fascinating and indescribable expression on that one lovely child-face. Sometimes I believed that I had found this expression. I have followed women for miles, traced them home, introduced myself to them, told them of my longings; and have then, after all, come away in bitter disappointment. The insults and revilings I have, on these occasions, sometimes submitted to I will narrate to no man, for they would bring me no respect in a cynical age like this—an age which Carlyle spits at and the great and good John Ruskin chides. Sometimes my dear friend Mr. Cyril has accompanied me on these occasions, and he has seen how I have been humiliated.'

An involuntary 'haw, haw!' came from Sleaford, but looking towards my mother and perceiving that she was listening with intense eagerness, he said: 'Ten thousand pardons, but Cyril Aylwin's droll stories,—don't you know? they will—hang it all—keep comin' up and makin' a fellow laugh.'

'Well,' continued Wilderspin, 'on that memorable morning I was impressed to walk down the street towards Temple Bar. I was passing close to the wall to escape the glare of the sun, when I was stopped suddenly by a sight which I knew could only have been sent to me in that hour of perplexity by her who had said that Jesus would let her look down and watch her boy. Moreover, at that moment the noise of the Strand seemed to cease in my ears, which were rilled with the music I love best—the only music that I have patience to listen to—the tinkle of a black-smith's anvil.'

'Blacksmith's anvil in the Strand?' said Sleaford.

'It was from heaven, my lord, that the music fell like rain; it was a sign from Mary Wilderspin who lives there.'

'For God's sake be quick!' I exclaimed. 'Where was it?'

'At the corner of Essex Street. A bright-eyed, bright-haired girl in rags was standing bare-headed, holding out boxes of matches for sale, and murmuring words of Scripture. This she was doing quite mechanically, as it seemed, and unobservant of the crowd passing by,—individuals of whom would stop for a moment to look at her; some with eyes of pure admiration and some with other eyes. The squalid attire in which she was clothed seemed to add to her beauty.'

'My poor Winnie!' I murmured, entirely overcome.

'She seemed to take as little heed of the heat and glare as of the people, but stood there looking before her, murmuring texts from Scripture as though she were communing with the spiritual world. Her eyes shook and glittered in the sunshine; they seemed to emit lights from behind the black lashes surrounding them; the ruddy lips were quivering. There was an innocence about her brow, and yet a mystic wonder in her eyes which formed a mingling of the child-like with the maidenly such as—'

'Man! man! would you kill me with your description?' I cried. Then grasping Wilderspin's hand, I said, 'But,—but was she begging, Wilderspin? Not literally begging! My Winnie! my poor Winnie!'

My mother looked at me. The gaze was full of a painful interest; but she recognised that between me and her there now was rolling an infinite sea or emotion, and her eyes drooped before mine as though she had suddenly invaded the privacy of a stranger.

'She was offering matches for sale,' said Wilderspin.

'Winnie! Winnie! Winnie!' I murmured. 'Did she seem emaciated, Wilderspin? Did she seem as though she wanted food?'

'Heaven, no!' exclaimed my mother.

'No,' replied Wilderspin firmly. 'On that point who is a better judge than the painter of "Faith and Love"? She did not want food. The colour of the skin was not—was not—such as I have seen—when a woman is dying for want of food.'

'God bless you, Wilderspin, God bless you! But what then?—what followed?'

'Well, Mr. Aylwin, I stood for some time gazing at her, muttering thanks to my mother for what I had found. I then went up to her, and asked her for a box of matches. She held me out a box, mechanically, as it seemed, and, when I had taken it of her, she held out her hand just as though she had been a real earthly beggar-girl; but that was part of the beneficent illusion of Heaven.'

'That was for the price, don't you know?' said Sleaford. 'What did you give her?'

'I gave her a shilling, my lord, which she looked at for some time in a state of bewilderment. She then began to feel about her as if for something.'

'She was feelin' for the change, don't you know?' said Sleaford, not in the least degree perceiving how these interruptions of a prosaic mind were maddening me.

'I told her that I wanted to speak to her,' continued Wilderspin, 'and asked her where she lived. She gave me the same bewildered, other-world look with which she had regarded the shilling, a look which seemed to say, "Go away now: leave me alone!" As I did not go, she began to appear afraid of me, and moved away towards Temple Bar, and then crossed the street. I followed, as far behind as I could without running the danger of losing sight of her, to a wretched place running out of Great Queen Street. Holborn, which I afterwards found was called Primrose Court, and when I got there she had disappeared in one of the squalid houses opening into the court. I knocked at the first door once or twice before an answer came, and then a tiny girl with the face of a woman opened it. "Is there a beggar-girl living here?" I asked. "No," answered the child in a sharp, querulous voice. "You mean Meg Gudgeon's gal wot sings and does the rainy-night dodge. She lives next house." And the child slammed the door in my face. I knocked at the next door, and after waiting for a minute it was opened by a short, middle-aged woman, with black eyes and a flattened nose, who stared at me, and then said, "A Quaker, by the looks o' ye." She had the strident voice of a raven, and she smelt, I thought, of gin.'

'But, Mr. Wilderspin, Mr. Wilderspin, you said the girl was safe!'

It was my mother's voice, but so loud, sharp, and agonised was it that it did not seem to be her voice at all. In that dreadful moment, however, I had no time to heed it. At the description of the hideous den and the odious Mrs. Gudgeon, whose face as I had seen it in Cyril's studio had haunted me in the crypt, a dreadful shudder passed through my frame; an indescribable sense of nausea stirred within me; and for a moment I felt as though the pains of dissolution were on me. And there was something in Wilderspin's face—what was it?—that added to my alarm. 'Stay for a moment,' I said to him; 'I cannot yet bear to hear any more.'

'I know the dread that has come upon you, and upon your kind, sympathetic mother,' said he; 'but she you are disturbed about was not a prisoner in the kind of place my words seem to describe.'

'But the woman?' said my mother. 'How could she be safe in such hands?'

'Has he not said she is safe?' I cried, in a voice that startled even my own ears, so loud and angry it was, and yet I hardly knew why.

'You forget,' said Wilderspin, turning to my mother, 'that the whole spiritual world was watching over her.'

'But was the place very—was it so very squalid?' said my mother. 'Pray describe it to us, Mr. Wilderspin; I am really very anxious.'

'No!' I said; 'I want no description: I shall go and see for myself.'

'But; Henry, I am most anxious to know about this poor girl, and I want Mr. Wilderspin to tell us how and where he found her.'

'The "poor girl" concerns me alone, mother. Our calamities—Winnie's and mine—are between us two and God....You engaged her, Wilderspin, of the woman whom I saw at Cyril's studio, to sit as a model? What passed when she came?'

'The woman brought her next day,' said Wilderspin, 'and I sketched in the face of Pelagia as Isis at once. I had already taken out the face of the previous model that had dissatisfied me. I now took out the figure too, for the figure of this new model was as perfect as her face.'

'Go on, go on. What occurred?'

'Nothing, save that she stood dumb, like one who had no language save that of another world. But at the second sitting she had a fit of a most dreadful kind.'

'Ah! Tell me quickly,' I said. Her face became suddenly distorted by an expression of terror such as I had never seen and never imagined possible. I have caught it exactly in my picture "Christabel." She revived and tried to run out of the studio. Her mother and I seized her, and she then fell down insensible.'

'What occasioned the fit? What had frightened her?'

'That is what I am not quite certain about. When she entered the studio she fixed her eyes upon a portrait which I had been working upon; but that must have been merely a coincidence.'

'A portrait!' I cried. And Winifred's scared expression when she encountered my mother's look of hate in the churchyard came back to me like a scene witnessed in a flash of lightning. 'The portrait was my mother's?'

'It was the face of the kind, tender, and noble lady your mother,' said Wilderspin gently.

I gave a hurried glance at my mother, and saw the pallor of her face,—but to me the world held now only two realities, Winifred and Wilderspin; all other people were dreams, obtrusive and irritating dreams. 'Go on, go on,' I said.

'She recovered,' continued Wilderspin, 'and seemed to have forgotten all about the portrait, which I had put away.'

'Did she talk?'

'Never, Mr. Aylwin,' said Wilderspin solemnly. 'Nor did I invite her to talk, knowing whence she came—from the spirit-world. At the first few sittings Mrs. Gudgeon came with her, and would sit looking on with the intention of seeing that she came to no harm. She said her daughter was very beautiful, and she, her mother, never trusted her with men.'

'God bless the hag, God bless her; but go on!'

'Gradually Mrs. Gudgeon seemed to acquire more confidence in me; and one day, on leaving, she lingered behind the girl, and told me that her daughter, though uncommonly stupid and a little touched in the head, had now learnt her way to my studio, and that in future she should let her come alone, as she believed that she could trust her with me. She warned me earnestly, however, not to "worrit" the girl by asking her all sorts of questions.'

'And there she was right,' I cried. 'But you did ask her questions,—I see you did, you asked her about her father and brought on another catastrophe.'

'No,' said Wilderspin with gentle dignity; 'I was careful not to ask her questions, for her mother told me that she was liable to fits.'

'Mr. Wilderspin, I beg your pardon,' I said.

'I see you are deeply troubled,' said he; 'but, Mr. Aylwin, you need not beg my pardon. Since I saw Mary Wilderspin, my mother, die for her children, no words of mere Man have been able to give me pain.'

'Go on, go on. What did the woman say to you?'

'She said, "The fewer questions you ask her the better, and don't pay her any money. She'd only lose it; I'll come for it at the proper times." From that day the model came to the sittings alone, and Mrs. Gudgeon came at the end of every week for the money.'

'And did the model maintain her silence all this time?'

'She did. She would, every few minutes, sink into a reverie, and appear to be stone-deaf. But sometimes her face would become suddenly alive with all sorts of shifting expressions. A few days ago she had another fit, exactly like the former one. That was on the day preceding my call at your hotel with your father's books. This time we had much more difficulty in bringing her round. We did so at last; and when she was gone I gave the final touch to my picture of "The Lady Geraldine and Christabel." I was at the moment, however, at work upon "Ruth and Boaz," which I had painted years before—removing the face of Ruth originally there. I worked long at it; and as she was not coming for two days I kept steadily at the picture. This was the day on which I called upon you, wishing you to postpone your visit, lest you should interrupt me while at work upon the head of Ruth, which I was hoping to paint. On Thursday I waited for her at the appointed hour, but she did not come, and I saw her no more.'

V

'Mr. Wilderspin,' I said, as I rose hurriedly, with the intention of going at once in search of Winifred, 'let me see the picture you allude to—"Christabel," and then tell me where to find her.'

'Better not see it!' said Wilderspin solemnly; 'there's something to tell you yet, Mr. Aylwin.'

'Yes, yes; but let me see the picture first. I can bear anything now. Howsoever terrible it may be, I can bear it now; for she's found—she's safe.' And I rushed into the next room, and began turning round in a wild manner one after another some dozens of canvases that were standing on the floor and leaning against the wall.

Half the canvases had been turned, and then I came upon what I sought.

I stood petrified. But I heard Wilderspin's voice at my side say, 'Do not let an imaginary scene distress you, Mr. Aylwin. The picture merely represents the scene in Coleridge's poem where the Lady Christabel, having secretly and in pity brought to her room to share her bed the mysterious lady she had met in the forest at midnight, watches the beautiful witch undress, and is spell-bound and struck dumb by some "sight to dream of, not to tell," which she sees at the lady's bosom.'

* * * * *

Christabel! It was Winifred sitting there upright in bed, confronted by a female figure—a tall lady, who with bowed head was undressing herself beneath a lamp suspended from the ceiling. Christabel! It was Winifred gazing at this figure—gazing as though fascinated; her dark hair falling and tumbling down her neck, till it was at last partly lost between her shining bosom and her nightdress. Yes, and in her blue eyes there was the same concentration of light, there was the same uprolling of the lips, there was the same dreadful gleaming of the teeth, the same swollen veins about the throat that I had seen in Wales. No wonder that at first I could see only the face and figure of Winifred. My consciousness had again dwindled to a single point. In a few seconds, however, I perceived that the scene was an antique oak-panelled chamber, corniced with large and curiously-carven figures, upon which played the warm light from a silver lamp suspended from the middle of the ceiling by a twofold silver chain fastened to the feet of an angel, quaintly carved in the dark wood of the ceiling. It was beneath this lamp that stood the majestic figure of the beautiful stranger, the Lady Geraldine. As she bent her head to look at her bosom, which she was about fully to uncover, the lamp-light gleaming among the gems and flashing in her hair and down her loosened white silken robe to her naked feet, shining, blue-veined and half-hidden in the green rushes that covered the floor, she seemed to be herself the source from which the lurid light was shed about the room. But her eyes were brighter than all. They were more dreadful by far to look at than Winifred's own—they were rolling wildly as if in an agony of hate, while she was drawing in her breath till that marble throat of hers seemed choking. It was not upon her eyes, however, that Winifred's were fixed: it was upon the lady's bosom, for out from beneath the partially-loosened robes that covered that bosom a tiny fork of flame was flickering like a serpent's tongue ruddy from the fires of a cruel and monstrous hate within.

This sight was dreadful enough; but it was not the terror on Winifred's face that now sent me reeling against Sleaford, who with my mother had followed me into the smaller room. Whose figure was that, and whose was the face which at first I had half-recognised in the Lady Geraldine? My mother's!

In painting this subject Wilderspin had, without knowing it, worked with too strong a reminiscence of my mother's portrait, unconscious that he was but giving expression to the awful irony of Heaven.

I turned round. Wilderspin was supporting with difficulty my mother's dead weight. For the first time (as I think) in her life, she whom, until I came to know Sinfi Lovell, I had believed to be the strongest, proudest, bravest woman living, had fainted.

'Dear me!' said Wilderspin, 'I had no idea that Christabel's terror was so strongly rendered,—no idea! Art should never produce an effect like this. Romantic art knows nothing of a mere sensational illusion. Dear me!—I must soften it at once.'

He was evidently quite unconscious that he had given my mother's features to Geraldine, and attributed the effect to his own superlative strength as a dramatic artist.

I ran to her: she soon recovered, but asked to be taken to Belgrave Square at once. Wild as I was with the desire to go in quest of Winifred; goaded as I was by a new, nameless, shapeless dread which certain words of Wilderspin's had aroused, but which (like the dread that had come to me on the night of my father's funeral) was too appalling to confront, I was obliged to leave the studio and take my mother to the house of my aunt, who was, I knew, waiting to start for the yacht.



XI

THE IRONY OF HEAVEN

I

As we stepped into the carriage, Sleaford, full of sympathy, jumped in. This fortunately prevented a conversation that would have been intolerable both to my mother and to me.

'Studio oppressively close,' said Sleaford; 'usual beastly smell of turpentine and pigments and things. Why the dooce don't these fellows ventilate their studios before they get ladies to go to see their paintin's!' This he kept repeating, but got no response from either of us.

As to me, let me honestly confess that I had but one thought: how much time would be required to go to Belgrave Square and back to the studio, to learn the whereabouts of Winifred. 'But she's safe,' I kept murmuring, in answer to that rising dread: 'Wilderspin said she was safe.'

During that drive to Belgrave Square, he whose bearing towards my mother was that of the anxious, loving son was not I, the only living child of her womb, but poor, simple, empty-headed Sleaford.

When we reached Belgrave Square my mother declared that she had entirely recovered from the fainting fit, but I scarcely dared to look into those haggard eyes of hers, which showed only too plainly that the triumph of remorse in her bosom was now complete. My aunt, who seemed to guess that something lowering to the family had taken place, was impatient to get on board the yacht. I saw how my mother now longed to remain and learn the upshot of events; but I told her that she was far better away now, and that I would write to her and keep her posted up in the story day by day. I bade them a hurried 'Good-bye.'

'How shall I be able to stay out of England until I know all about her?' said my mother. 'Go back and learn all about her, Henry, and write to me; and be sure to get and take care of that dreadful picture, and write to me about that also.'

When the carriage left I walked rapidly along the Square, looking for a hansom. In a second or two Sleaford was by my side. He took my arm.

'I suppose you're goin' back to cane him, aren't you?' said he.

'Cane whom?' I said impatiently, for that intolerable thought which I have hinted at was now growing within my brain, and I must, must be alone to grapple with it.

'Cane the d——d painter, of course,' said Sleaford, opening his great blue eyes in wonder that such a question should be asked. 'Awfully bad form that fellow goin' and puttin' your mother in the picture. But that's just the way with these fellows.'

'What do you mean?' I asked again.

'What do I mean? The paintin' and writin' fellows. You can't make a silk purse out of a sow's ear, as I've often and often said to Cyril Aylwin; and by Jove, I'm right for once. I suppose I needn't ask you if you're going back to cane him.'

'Wilderspin did what he did quite unconsciously,' I replied, as I hailed a hansom. 'It was the finger of God.'

'The finger of—Oh come! That be hanged, old chap.'

'Good-bye,' I said, as I jumped into the hansom.

'But you don't mean to say you are goin' to let a man put your mother into—'

I heard no more. The terrible idea which had been growing in my brain, shaping itself out of a nebulous mass of reminiscences of what had just occurred at the studio, was now stinging me to madness. Wilderspin's extreme dejection, the strange way in which he had seemed inclined to evade answering my question as to the safety of Winifred, the look of pity on his face as at last he answered 'quite safe'—what did all these indications portend? At every second the thought grew and grew, till my brain seemed like a vapour of fire, and my eyeballs seemed to scorch their sockets as I cried aloud: 'Have I found her at last to lose her?'

On reaching the studio door I rapped: before the servant had time to answer my summons, I rapped again till the sounds echoed along the street. When my summons was answered, I rushed upstairs. Wilderspin stood at the studio door, listening, apparently, to the sound of the blacksmith's anvil coming in from the back of Maud Street through the open window. Though his sorrowful face told all, I cried out, 'Wilderspin, she's safe? You said she was safe?'

'My friend,' said Wilderspin solemnly, 'the news I have to give you is news that I knew you would rather receive when you could hear it alone.'

'You said she was safe!'

'Yes, safe indeed! She whom you, under some strange but no doubt beneficent hallucination, believe to be the lady you lost in Wales, is safe indeed, for she is in the spirit-land with her whose blessing lent her to me—she has returned to her who was once a female blacksmith at Oldhill, and is now the brightest, sweetest, purest saint in Paradise.'

Dead! My soul had been waiting for the word—expecting it ever since I left the studio with my mother—but now it sounded more dreadful than if it had come as a surprise.

'Tell me all,' I cried, 'at once—at once. She did not return, you say, on the day following the catastrophe—when did she return?—when did you next see her?'

'I never saw her again alive,' answered Wilderspin mournfully; 'but you are so pale, Mr. Aylwin, and your eyes are so wild, I had better defer telling you what little more there is to tell until you have quite recovered from the shock.'

'No; now, now.'

Wilderspin looked with a deep sigh at the picture of 'Faith and Love,' fired by the lights of sunset, where Winnie's face seemed alive.

'Well,' said he, 'as she did not come, I worked at my painting of "Ruth" all day; and on the next morning, as I was starting for Primrose Court to seek her, Mrs. Gudgeon came kicking frantically at the street-door. When it was opened, she came stamping upstairs, and as I advanced to meet her, she shook her fists in my face, shouting out: "I could tear your eyes out, you vagabones." "Why, what is the matter?" I asked in great surprise. "You've bin and killed her, that's all," said the woman, foaming at the mouth. She then told me that her daughter, almost immediately on reaching home after having left the studio in the company of my servant, had fallen down in a swoon. A succession of swoons followed. She never rallied. She was then lying dead in Primrose Court.'

'And what then? Answer me quickly.'

'She asked me to give her money that her daughter might be buried respectably and not by the parish. I told her it was all hallucination about the girl being her daughter, and that a spiritual body could not be buried, but she seemed so genuinely distressed that I gave her the money.'

'Spiritual body! Hallucination!' I said. 'I heard her voice in the London streets, and she was seen selling baskets at the theatre door. Where shall I find the house?'

'It is of no use for you to go there,' he said.

'Nothing shall prevent my going at once.' A feverish yearning had come upon me to see the body.

'If you will go,' said Wilderspin, 'it is No. 2 Primrose Court, Great Queen Street, Holborn.

II

I hurried out of the house, and soon finding a cab I drove to Great Queen Street.

My soul had passed now into another torture-chamber. It was being torn between two warring, maddening forces—the passionate desire to see her body, and the shrinking dread of undergoing the ordeal. At one moment I felt—as palpably as I felt it, on the betrothal night—her slim figure, soft as a twine of flowers in my arms: at the next I was clasping a corpse—a rigid corpse in rags. And yet I can scarcely say that I had any thoughts. At Great Queen Street I dismissed the cab, and had some little difficulty in finding Primrose Court, a miserable narrow alley. I knocked at a door which, even in that light, I could see was a peculiarly wretched one. After a considerable delay the door was opened and a face peered out—the face of the woman whom I had seen in Cyril's studio. She did not at first seem to recognise me. She was evidently far gone in liquor, and looked at me, murmuring, 'You're one o' the cussed body-snatchers; I know you: you belong to the Rose Alley "Forty Thieves." You'll swing—every man Jack o' ye'll swing yet, mind if you don't.'

At the sight of the squalid house in which Winifred had lived and died I passed into a new world of horror. Dead matter had become conscious, and for a second or two it was not the human being before me, but the rusty iron, the broken furniture, the great patches of brick and dirty mortar where the plaster had fallen from the walls,—it was these which seemed to have life—a terrible life—and to be talking to me, telling me what I dared not listen to about the triumph of evil over good. I knew that the woman was still speaking, but for a time I heard no sound—my senses could receive no impressions save from the sinister eloquence of the dead and yet living matter around me. Not an object there that did not seem charged with the wicked message of the heartless Fates.

At length, and as I stood upon the doorstep, a trembling, a mighty expectance, seized me like an ague-fit; and I heard myself saying, 'I am come to see the body, Mrs. Gudgeon.' Then I saw her peer, blinking, into my face, as she said,

'Oh, oh, it's you, is it? It's one o' the lot as keeps the studeros, is it?—the cussed Chelsea lot as killed her. I recklet yer a-starin' at the goddess Joker! So you've come to see my poor darter's body, are you? How werry kind, to be sure! Pray come in, gentleman, an' pray let the beautiful goddess Joker be perlite an' show sich a nice kind wisiter the way upstairs.'

She took a candle, and with a mincing, mocking movement, curtseying low at every step, she backed before me, and then stood waiting at the foot of the staircase with a drunken look of satire on her features.

'Pray go upstairs fust, gentleman,' said she; 'I can't think o' goin' up fust, an' lettin' my darter's kind wisiter foller behind like a sarvint. I 'opes we knows our manners better nor that comes to in Primrose Court.'

'None of this foolery now, woman,' said I. 'There's a time for everything, you know.'

'How right he is!' she exclaimed, nodding to the flickering candle in her hand. 'There's a time for everything an' this is the time for makin' a peep-show of my pore darter's body. Oh, yes!'

I mounted a shaky staircase, the steps of which were, some of them, so broken away that the ascent was no easy matter. The miserable light from the woman's candle, as I entered the room, seemed suddenly to shoot up in a column of dazzling brilliance that caused me to close my eyes in pain, so unnaturally sensitive had they been rendered by the terrible expectance of the sight that was about to sear them.

When I re-opened my eyes, I perceived that in the room there was one window, which looked like a trap-door; on the red pantiles of the opposite roof lay a smoke-dimmed sheet of moonlight. On the floor at the further end of the garret, where the roof met the boards at a sharp angle, a mattress was spread. Then speech came to me.

'Not there!' I groaned, pointing to the hideous black-looking bed, and turning my head away in terror. The woman burst into a cackling laugh.

'Not there? Who said she was there? I didn't. If you can see anythink there besides a bed an' a quilt, you've got eyes as can make picturs out o' nothink, same as my darter's eyes could make 'em, pore dear.'

'Ah, what do you mean?' I cried, leaping to the side of the mattress, upon which I now saw that no dead form was lying.

For a moment a flash of joy as dazzling as a fork of lightning seemed to strike through my soul and turn my blood into a liquid fire that rose and blinded my eyes.

'Not dead,' I cried; 'no, no, no! The pitiful heavens would have rained blood and tears at such a monstrous tragedy. She is not dead—not dead after all! The hideous dream is passing.'

'Oh, ain't she dead, pore dear?—ain't she? She's dead enough for one,' said the woman; 'but 'ow can she be there on that mattress, when she's buried, an' the prayers read over her, like the darter of the most 'spectable mother as ever lived in Primrose Court! That's what the neighbours say o' me. The most 'spectable mother as ever—'

'Buried!' I said, 'who buried her?'

'Who buried her? Why the parish, in course.'

Despair then again seemed to send a torrent of ice-water through my veins. But after a time the passionate desire to see her body leapt up within my heart.

At this moment Wilderspin, who had evidently followed me with remarkable expedition, came upstairs and stood by my side.

'I must go and see the grave,' I said to him. 'I must see her face once more. I must petition the Home Secretary. Nothing can and nothing shall prevent my seeing her—no, not if I have to dig down to her with my nails.'

'An' who the dickens are you as takes on so about my darter?' said the woman, holding the candle to my face.

'Drunken brute!' said I. 'Where is she buried?'

'Well, I'm sure!' said the woman in a mincing, sarcastic voice. 'How werry unperlite you is all at wonst! how werry rude you speaks to such a werry 'spectable party as I am! You seem to forgit who I am. Ain't I the goddess as likes to 'ave 'er little joke, an' likes to wet both eyes, and as plays sich larks with her flummeringeroes and drumming-dairies an' ring-tailed monkeys an' men?'

When I saw the creature whip up the quilt from the mattress, and, holding it over her head like a veil, leer hideously in imitation of Cyril's caricature, a shudder went again through my frame—a strange kind of dementia came upon me; my soul again seemed to leave my body—seemed to be lifted through the air and beyond the stars, crying, in agony, 'Shall there be evil in a city, and the Lord hath not done it?' Yet all the while, though my soul seemed fleeing through infinite space, where a pitiless universe was waltzing madly round a ball of cruel fire—all the while I was acutely conscious of looking down upon the dreadful dream-world below, looking down into a frightful garret where a dialogue between two dream-figures was going on—a dialogue between Wilderspin and the woman, each word of which struck upon my ears like a sharp-edged flint, though it seemed millions of miles away.

* * * * *

'What made you trick me like this? Where is the money I gave you for the funeral?'

'That's werry true, about that money, an' where is it? The orkerdest question about money allus is—"Where is it?" The money for that funeral I 'ad, I won't deny that. The orkard question ain't that: it's "Where is it?" But you see, arter I left your studero I sets on that pore gal's bed a-cryin' fit to bust; then I goes out into Clement's Alley, and I calls on Mrs. Mix—that's a werry dear friend of mine, the mother o' seven child'n as are allus a-settin' on my doorstep, an' she comes out of Yorkshire you must know, an' she's bin a streaker in her day (for she was well off wonst was Mrs. Mix afore she 'ad them seven dirty-nosed child'n as sets on her neighbours' doorsteps)—an' she sez, sez she, "My pore Meg" (meanin' me), "I've bin the mother o' fourteen beautiful clean-nosed child'n, an' I've streaked an' buried seven on 'em, so I ought to know somethink about corpuses, an' I tell you this corpse o' your darter's must be streaked an' buried at wonst, for she died in a swownd. An' there's nothink like the parishes for buryin' folk quick, an' I dessay the coffin's ordered by this time, an' I dessay the gent gev you that money just to make you comforble like, seein' as he killed your darter." That's what Mrs. Mix says to me. So the parish comed an' brought a coffin an' tookt her, pore dear. And I've cried myself stupid-like, bein' her pore mother as 'es lost her on'y darter—an' I was just a-tryin' to make myself comfable when this 'ere young toff as seems so werry drunk comes a-rappin' at my door fit to rap the 'ouse down.'

'Has she been buried at all? How can a spiritual body be buried?'

'"Buried at all?" What do you mean by insinivatin' to the pore gal's conflicted mother as she p'raps ain't buried at all? You're a-makin' me cry ag'in. She lays comfable enough underneath a lot of other coffins, in the pauper part of the New North Cimingtary.'

'Underneath a lot of others; how can that be?'

'What! ain't you toffs never seed a pauper finneral? Now that's a pity; and sich nice toffs as they are, a-settin' theirselves up to look arter the darters o' pore folks. P'raps you never thought how we was buried. We're buried, when our time comes, and then they're werry kind to us, the parish toffs is:—It's in a lump—six at a time—as they buries us, and sich nice deal coffins they makes us, the parish toffs does, an' sich nice lamp-black they paints 'em with to make 'em look as if they was covered over with the best black velvid; an' then sich a nice sarmint—none o' your retail sarmints, but a hulsale sarmint—they reads over the lot, an' into one hole they packs us one atop o' the other, jest like a pile o' the werry best Yarmith bloaters, an' that's a good deal more sociable an' comfable, the parish toffs thinks, than puttin' us in single; so it is, for the matter o' that.'

Then I heard no more; for at the intolerable picture called up by the woman's words, my soul in its misery seemed to have soared, scared and trembling, above and beyond the heavens at whose futile gates it had been moaning, till at last it sank at the feet of the mighty power that my love had striven with on the sands of Raxton when the tide was coming in—some pale and cruel ruler whose brow I saw wrinkled with the woman's mocking smile—some frightful columbine-queen, wicked, bowelless, and blind, shaking a starry cap and bells, and chanting—

I lent the drink of Day To gods for feast; I poured the river of Night On gods surceased: Their blood was Nin-ki-gal's.

And there, at the feet of the awful jesting hag, Circumstance, I could only cry 'Winnie! my poor Winnie!' while over my head seemed to pass Necessity and her black ages of despair.

When I came to myself I said to the woman,

'You can point out the grave?'

'Well, yes,' paid slip, turning round sharply; 'but may I ax who the dickens you are?—an' what makes you so cut up about a pore woman's darter? It's right-on beautiful to see how kind gentlemen is nowadays': and she turned and tried, stumbling, to lead the way downstairs.

As we left the room I turned round to look at it. The picture of the mattress, now nearly hidden in the shadows—the picture of the other furniture in the room—two chairs—or rather one and a part of a chair, for the rails of the hack were gone—a table, a large brown jug, the handle of which had been replaced by a piece of string, and a white washhand-basin, with most of the rim broken away, and a shallow tub apparently used for a bath—seemed to sink into my flesh as though bitten in by the etcher's aquafortis. Winifred's sleeping-room!

'Of course she wasn't her daughter,' said Wilderspin meditatively, as we stood on the stairs.

'Not my darter! Why, in course she was. What an imperent thing to say, surelie!'

'There is one thing I wish to say to you,' said he to the woman. 'When I agreed with you as to the sum to be paid for the model's sittings, it was clearly understood that she was to sit to no other artist, and that the match-selling was to cease.

'Well, and 'ave I broke my word?'

'A person has heard her singing and seen her selling baskets,' I said.

'The person tells a lie,' said the woman, with a dogged and sullen look, and in a voice that grew thicker with every word. 'Ain't there sich things as doubles?'

At these last words my heart gave a sudden leap. We left the house, and neither of us spoke till we got into the Strand.

'Did you see the—body at all?' I asked Wilderspin.

'Oh, yes. After I gave her the money for the funeral I went to Primrose Court. The woman took me upstairs, and there on the mattress lay—what the poor woman believed to be the earthly body of an earthly daughter. It was covered with a quilt. Over the face a ragged shawl had been thrown.'

'Yes, yes. She raised the shawl?'

'Yes, the woman went and held the candle over the head of the mattress and uncovered the face; and there lay she whom the woman believed to be her daughter, and whom you believe to be the young lady you seek, but whom I know to be a spiritual body—the perfect type that was sent to me in order that I might fulfil my mission. You groan, Mr. Aylwin, but remember that you have lost only a dream, a beautiful hallucination; I have lost a reality: there is nothing real but the spiritual world.

III

As I wandered about the streets after parting from Wilderspin, what were my emotions? If I could put them into words, is there one human being in ten thousand who would understand me? Happily, no. For there is not one in ten thousand who, having sounded the darkest depths of human misery, will know how strong is Hope when at the true death-struggle with Despair. 'Hope in the human breast,' wrote my father, 'is a passion, a wild, a lawless, and an indomitable passion, that almost no cruelty of Fate can conquer.'

Many a passer-by in the streets of London that night must have asked himself, What lunatic is this at large? At one moment I would bound along the pavement as though propelled by wings, scarcely seeming to touch the pavement with my feet. At the next I would stop in a cold perspiration and say to myself, 'Idiot, is it possible that you, so learned in suffering—you, whom Destiny, or Heaven, or Hell, has taken in hand as a special sport—can befool yourself with Hope now, after the terrible comedy by which you and the ancestral idiots from whom you sprang amused Queen Nin-ki-gal in Raxton crypt?'

Hope and Despair were playing at shuttlecock with my soul. Underneath my misery there flickered a thought which, wild as it was, I dared not dismiss—the thought that, after all, it might not be Winifred who had died in that den. Possible it was—however improbable—that I might be labouring under a delusion. My imagination might have exaggerated a resemblance into actual identity, and Winifred and she whom Wilderspin painted might be two different persons—and there might be hope even yet. But so momentous was the issue to my soul, that the mere fact of having clearly marshalled the arguments on the side of Hope made my reason critical and suspicious of their cogency. From the sweet sophisms that my reason had called up, I turned, and there stood Despair, ready for me behind a phalanx of arguments, which laughed all Hope's 'ragged regiment' to scorn.

Had not my mother recognised her? Could the infallible perceptive faculties of my mother be also deceived?

But to accept the fact that she who died on that mattress was little Winnie of the sands was to go stark mad, and the very instinct of self-preservation made me clutch at every sophism Hope could offer.

'Did not the woman declare that the singing-girl and the model were not one and the same?' said Hope. 'And if she did not lie, may you not have been, after all, hunting a shadow through London?'

'It might not have been Winifred,' I shouted.

But no sooner had I done so than the scene in the studio—Wilderspin's story of the model's terror on seeing my mother's portrait—came upon me, and 'Dead! dead!' rang through me like a funeral knell: all the superstructure of Hope's sophisms was shattered in a moment like a house of cards: my imagination flew away to all the London graveyards I had ever heard of; and there, in the part divided by the pauper line, my soul hovered over a grave newly made, and then dived down from coffin to coffin, one piled above another, till it reached Winifred, lying pressed down by the superincumbent mass; those eyes staring.

Yes; that night I was mad!

I could not walk fatigue into my restless limbs. Morning broke in curdling billows of fire over the east of London—which even at this early hour was slowly growing hazy with smoke. I found myself in Primrose Court, looking at that squalid door, those squalid windows. I knocked at the door. No answer came to my summons, and I knocked again and again. Then a window opened above my head, and I heard the well-known voice of the woman exclaiming,

'Who's that? Poll Onion's out to-night, and the rooms are emp'y 'cept mine. Why, God bless me, man, is it you?'

'Hag! that was not your daughter.'

She slammed the window down.

'Let me in, or I will break the door.'

The window was opened again.

'Lucky as I didn't leave the front door open to-night, as I mostly do. What do you want to skear a pore woman for?' she bawled. 'Go away, else I'll call up the people in Great Queen Street.'

'Mrs. Gudgeon, all I want to do is to ask you a question.'

'Ah, but that's what you jis' won't do, my fine gentleman. I don't let you in again in a hurry.'

'I will give you a sovereign.'

'Honour bright?' bawled the old woman; 'let me look at it.'

'Here it is, in my hand.'

'Jink it on the stuns.'

I threw it down.

'Quid seems to jink all right, anyhow,' she said, 'though I'm more used to the jink of a tanner than a quid in these cussed times. You won't skear me if I come down?'

'No, no.'

At last I heard her fumbling inside at the lock, and then the door opened.

'Why, man alive! your eyes are afire jist like a cat's wi' drownded kitlins.'

'She was not your daughter.'

'Not my darter?' said she, as she stooped to pick up the sovereign. 'You ain't a-goin' to catch me the likes o' that. The Beauty not my darter! All the court knows she was my own on'y darter. I'll swear afore all the beaks in London as I'm the mother of my own on'y darter Winifred, allus' wur 'er mother, and allus wull be; an' if she went a-beggin' it worn't my fort. She liked beggin', poor dear; some gals does.'

'Her name Winifred!' I cried, with a pang at my heart as sharp as though there had been a reasonable hope till now.

'In course her name was Winifred.'

'Liar! How came she to be called Winifred?'

'Well, I'm sure! Mayn't a Welshman's wife give her own on'y Welsh darter a Welsh name? Us poor folks is come to somethink! P'raps you'll say I ain't a Welshman's wife next? It's your own cussed lot as killed her, ain't it? What did I tell the shiny Quaker when fust I tookt her to the studero? I sez to the shiny un, "She's jist a bit touched here," I sez' (tapping her own head), '"and nothink upsets her so much as to be arsted a lot o' questions," I sez to the shiny un. "The less you talks to her," I sez, "the better you'll get on with her," I sez, "and the better kind o' pictur you'll make out on her," I sez to the shiny un; "an' don't you go an' arst who her father is," I sez, "for that word 'ull bring such a horful look on her face," I sez, "as is enough to skear anybody to death. I sha'n't forget the look the fust time I seed it," I sez. That's what I sez to the shiny Quaker. An' yit you did go an' worrit 'er, a-arstin' 'er a lot o' questions about 'er father. You did—I know you did! You must 'a done it—so no lies; for that wur the on'y thing as ever skeared 'er, arstin' 'er about 'er father, pore dear....Why, man alive! what are you a-gurnin' at? an' what are you a-smackin' your forred wi' your 'and like that for, an' a-gurnin' in my face like a Chessy cat? Blow'd if I don't b'lieve you're drunk. An' who the dickens are you a-callin' a fool, Mr. Imperance?'

It was not the woman but myself I was cursing when I cried out, 'Fool! besotted fool!'

Not till now had the wild hope fled which had led me back to the den. As I stood shuddering on the doorstep in the cold morning light, while the whole unbearable truth broke in upon me, I could hear my lips murmuring,

'Fool of ancestral superstitions! Fenella Stanley's fool! Philip Aylwin's fool! Where was the besotted fool and plaything of besotted ancestors, when the truth was burning so close beneath his eyes that it is wonderful they were not scorched into recognising it? Where was he when, but for superstitions grosser than those of the negroes on the Niger banks, he might have saved the living heart and centre of his little world? Where was the rationalist when, but for superstitions sucked in with his mother's milk, he would have gone to a certain studio, seen a certain picture which would have sent him on the wings of the wind to find and rescue and watch over the one for whom he had renounced all the ties of kindred? Where was then the most worthy descendant of a line of ancestral idiots—Romany and Gorgio—stretching back to the days when man's compeers, the mammoth and the cave-bear, could have taught him better? Rushing down to Raxton church to save her!—to save her by laying a poor little trinket upon a dead man's breast!'