the floors of the reynolds galleries were covered with some hundreds of very well-dressed and very expensively-dressed women and some scores of men. the walls were covered with a loan collection of oil-paintings, water-colour drawings, and etchings—english and french, but chiefly english. a very large proportion of the pictures were portraits of women done by a select group of very expensive painters in the highest vogue. these portraits were the main attraction of the elegant crowd, which included many of the sitters; as for the latter, they failed to hide under an unconvincing mask of indifference their curiosity as to their own effectiveness in a frame.
the portraits for the most part had every quality save that of sincerity. they were transcendantly adroit and they reeked of talent. they were luxurious, refined, sensual, titillating, exquisite, tender, compact, of striking poses and subtle new tones. and while the heads were well finished and instantly recognisable as likenesses, the impressionism of the hands and of the provocative draperies showed that the artists had fully realised the necessity of being modern. the mischief and the damnation were that the sitters liked them because they produced in the sitters the illusion that the sitters were really what the sitters wanted to be, and what indeed nearly every woman in the galleries wanted to be; and the ideal of the sitters was a low ideal. the portraits flattered; but only a few guessed that they flattered ignobly; scarcely any even of the artists guessed that.
the portraits were a success; the exhibition was a success; and all the people at the private view justly felt that they were part of and contributing to the success. and though seemingly the aim of everybody was to prove to everybody else that no war, not the greatest war, could disturb the appearances of social life in london, yet many were properly serious and proud in their seriousness. it was the autumn of 1915. british troops were triumphantly on the road to kut, and british forces were approaching decisive victory in gallipoli. the russians had turned on their pursuers. the french had initiated in champagne an offensive so dramatic that it was regarded as the beginning of the end. and the british on their left, in the taking of loos and hill 70, had achieved what might have been regarded as the greatest success on the western front, had it not been for the rumour, current among the informed personages at the reynolds galleries, that recent bulletins had been reticent to the point of deception and that, in fact, hill 70 had ceased to be ours a week earlier. further, zeppelins had raided london and killed and wounded numerous londoners, and all present in the reynolds galleries were aware, from positive statements in the newspapers, that whereas german morale was crumbling, all londoners, including themselves, had behaved with the most marvellous stoic calm in the ordeal of the zeppelins.
the assembly had a further and particular reason for serious pride. it was getting on with the war, and in a most novel way. private views are customarily views gratis. but the entry to this private view cost a guinea, and there was absolutely no free list. the guineas were going to the support of the lechford hospitals in france. the happy idea was g.j.'s own, and lady queenie paulle and her mother had taken the right influential measures to ensure its grandiose execution. a queen had visited the private view for half an hour. thus all the very well-dressed and very expensively-dressed women, and all the men who admired and desired them as they moved, in voluptuous perfection, amid dazzling pictures with the soft illumination of screened skylights above and the reflections in polished parquet below—all of both sexes were comfortably conscious of virtue in the undoubted fact that they were helping to support two renowned hospitals where at that very moment dissevered legs and arms were being thrown into buckets.
in a little room at the end of the galleries was a small but choice collection of the etchings of félicien rops: a collection for connoisseurs, as the critics were to point out in the newspapers the next morning. for rops, though he had an undeniable partiality for subjects in which ugly and prurient women displayed themselves in nothing but the inessentials of costume, was a [151] classic before whom it was necessary to bow the head in homage.
g.j. was in this room in company with a young and handsome staff officer, lieutenant molder, home on convalescent leave from suvla bay. mr. molder had left oxford in order to join the army; he had behaved admirably, and well earned the red shoulder-ornaments which pure accident had given him. he was a youth of artistic and literary tastes, with genuine ambitions quite other than military, and after a year of horrible existence in which he had hungered for the arts more than for anything, he was solacing and renewing himself in the contemplation of all the masterpieces that london could show. he greatly esteemed g.j.'s connoisseurship, and g.j. had taken him in hand. at the close of a conscientious and highly critical round of the galleries they had at length reached the rops room, and they were discussing every aspect of rops except his lubricity, when lady queenie paulle approached them from behind. molder was the first to notice her and turn. he blushed.
"well, queen," said g.j., who had already had several conversations with her in the galleries that day and on the previous days of preparation.
she replied:
"well, i hope you're satisfied with the results of your beautiful idea."
the young woman, slim and pale, had long since gone out of mourning. she was most brilliantly attired, and no detail lacked to the perfection of her modish outfit. indeed, just as she was, she would have made a marvellous mannequin, except for the fact that mannequins are not usually allowed to perfume themselves in business hours. her thin, rather high voice, which somehow matched her complexion and carriage, had its customary tone of amiable insolence, and her tired, drooping eyes their equivocal glance, as she faced the bearded and grave middle-aged bachelor and the handsome, muscular boy; even the boy was older than queen, yet she seemed to condescend to them as if she were an immortal from everlasting to everlasting and could teach both of them all sorts of useful things about life. nobody could have guessed from that serene demeanour that her self-satisfaction was marred by any untoward detail whatever. yet it was. all her frocks were designed to conceal a serious defect which seriously disturbed her: she was low-breasted.
g.j. said bluntly:
"may i present mr. molder?—lady queenie paulle."
and he said to himself, secretly annoyed:
"dash the infernal chit. that's what she's come for. now she's got it."
she gave the slightest, dubious nod to molder, who, having faced fighting turks with an equanimity equal to queenie's own, was yet considerably flurried by the presence and the gaze of this legendary girl. queenie, enjoying his agitation, but affecting to ignore him, began to talk quickly in the vein of exclusive gossip; she mentioned in a few seconds the topics of the imminent entry of bulgaria into the war, the maturing salonika expedition, the confidential terrible utterances of [153] k. on recruiting, and, of course, the misfortune (due to causes which queenie had at her finger-ends) round about loos. then in regard to the last she suddenly added, quite unjustifiably implying that the two phenomena were connected: "you know, mother's hospitals are frightfully full just now.... but, of course, you do know. that's why i'm so specially glad to-day's such a success."
thus in a moment, and with no more than ten phrases, she had conveyed the suggestion that while mere soldiers, ageing men-about-town, and the ingenuous mass of the public might and did foolishly imagine the war to be a simple affair, she herself, by reason of her intelligence and her private sources of knowledge, had a full, unique apprehension of its extremely complex and various formidableness. g.j. resented the familiar attitude, and he resented queenie's very appearance and the appearance of the entire opulent scene. in his head at that precise instant were not only the statistics of mortality and major operations at the lechford hospitals, but also the astounding desolating tales of the handsome boy about folly, ignorance, stupidity and martyrdoms at suvla.
he said, with the peculiar polite restraint that in him masked emotion and acrimony:
"yes, i'm glad it's a success. but the machinery of it is perhaps just slightly out of proportion to the results. if people had given to the hospitals what they have spent on clothes to come here and what they've paid painters so that they could see themselves on the walls, we should have made twenty times as much as we have made—a hundred times as much. why, good god! queen, the whole afternoon's takings wouldn't buy what you're wearing now, to say nothing of the five hundred other women here." his eye rested on the badge of her half-brother's regiment which she had had reproduced in diamonds.
at this juncture he heard himself addressed in a hearty, heavy voice as "g.j., old soul." an officer with the solitary crown on his sleeve, bald, stoutish, but probably not more than forty-five, touched him—much gentler than he spoke—on the shoulder.
"craive, my son! you back! well, it's startling to see you at a picture-show, anyhow."
the major, saluting lady queenie as a distant acquaintance, retorted:
"morally, you owe me a guinea, my dear g.j. i called at the flat, and the young woman there told me you'd surely be here."
while they were talking g.j. could hear queenie paulle and molder:
"where are you back from?"
"suvla, lady queenie."
"you must be oozing with interest and actuality. tell g.j. to bring you to tea one day, quite, quite soon, will you? i'll tell him." and molder murmured something fatuously conventional. g.j. showed decorously that he had caught his own name. whereupon lady queenie, instead of naming a day for tea, addressed him almost bitterly:
"g.j., what's come over you? what in the name of pan do you suppose all you males are fighting each other for?" she paused effectively. "good god! if i began to dress like a housemaid the germans would be in london in a month. our job as women is quite delicate enough without you making it worse by any damned sentimental superficiality.... i want you to bring mr. molder to tea to-morrow, and if you can't come he must come alone...."
with a last strange look at molder she retired into the glitter of the crowded larger room.
"she been driving any fresh men to suicide lately?" major craive demanded acidly under his breath.
g.j. raised his eyebrows.
then: "that's not you, frankie!" said the major with a start of recognition towards the staff lieutenant.
"yes, sir," said molder.
they shook hands. at the previous christmas they had lain out together on the cliffs of the east coast in wild weather, waiting to repel a phantom army of thirty thousand germans.
"it was the red hat put me off," the major explained.
"not my fault, sir," molder smiled.
"devilish glad to see you, my boy."
g.j. murmured to molder:
"you don't want to go and have tea with her, do you?"
and molder answered, with the somewhat fatuous, self-conscious grin that no amount of intelligence can keep out of the face of a good-looking fellow who knows that he has made an impression:
"well, i don't know—"
g.j. raised his eyebrows again, but with indulgence, and winked at craive.
the major shut his lips tight, then stood with his mouth open for a second or two in the attitude of a man suddenly receiving the onset of a great and original idea.
"she's right, hang it all!" he exclaimed. "she's right! of course she is! why, what's all this"—he waved an arm at the whole scene—"what's all this but sex? look at 'em! and look at their portraits! you aren't going to tell me! what's the good of pretending? hang it all, when my own aunt comes down to breakfast in a low-cut blouse that would have given her fits even in the evening ten years ago!... and jolly fine too. i'm all for it. the more of it the merrier—that's what i say. and don't any of you high-brows go trying to alter it. if you do i retire, and you can defend your own bally front."
"craive," said g.j. affectionately, "until you and queen came along molder and i really thought we were at a picture exhibition, and we still think so, don't we, molder?" the lieutenant nodded. "now, as you're here, just let me show you one or two things."
"oh!" breathed the major, "have pity. it's not any canvas woman that i want—by jove!" he caught sight of an invention of félicien rops, a pig on the end of a string, leading, or being driven by, a woman who wore nothing but stockings, boots and a hat. "what do you call that?"
"my dear fellow, that's one of the most famous etchings in the world."
"is it?" the major said. "well, i'm not surprised. there's more in this business than i imagined." he set himself to examine all the exhibits by rops, and when he had finished he turned to g.j.
"listen here, g.j. we're going to make a night of it. i've decided on that."
"sorry, dear heart," said g.j. "i'm engaged with molder to-night. we shall have some private chamber-music at my rooms—just for ourselves. you ought to come. much better for your health."
"what time will the din be over?"
"about eleven."
"now i say again—listen here. let's talk business. i'll come to your chamber-music. i've been before, and survived, and i'll come again. but afterwards you'll come with me to the guinea-fowl."
"but, my dear chap, i can't throw molder out into vigo street at eleven o'clock," g.j. protested, startled by the blunt mention of the notorious night-club in the young man's presence.
"naturally you can't. he'll come along with us. frankie and i have nearly fallen into the north sea or german ocean together, haven't we, frankie? it'll be my show. and i'll turn up with the stuff—one, two or three pretty ladies according as your worship wishes."
g.j. was now more than startled; he was shocked; he felt his cheeks reddening. it was the presence of molder that confused him. never had he talked to molder on any subjects but the arts, and if they had once or twice lighted on the topic of women it was only in connection with the arts. he was really interested in and admired molder's unusual aesthetic intelligence, and he had done what he could to foster it, and he immensely appreciated molder's youthful esteem for himself. moreover, he was easily old enough to be molder's father. it seemed to him that though two generations might properly mingle in anything else, they ought not to mingle in licence. craive's crudity was extraordinary.
"see here!" craive went on, serious and determined. "you know the sort of thing i've come from. i got four days unexpected. i had to run down to my uncle's. the old things would have died if i hadn't. to-morrow i go back. this is my last night. i haven't had a scratch up to now. but my turn's coming, you bet. next week i may be in heaven or hell or anywhere, or blind for life or without my legs or any damn thing you please. but i'm going to have to-night, and you're going to join in."
g.j. saw the look of simple, half-worshipful appeal that sometimes came into craive's rather ingenuous face. he well knew that look, and it always touched him. he remembered certain descriptive letters which he had received from craive at the front,—they corresponded faithfully. he could not have explained the intimacy of his relations with craive. they had begun at a club, over cards. the two had little in common—craive was a stockbroker when world-wars did not happen to be in progress—but g.j. greatly liked him because, with all his crudity, he was such a decent, natural fellow, so kind-hearted, so fresh and unassuming. and craive on his part had developed an admiration for g.j. which g.j. was quite at a loss to account for. the one clue to the origin of the mysterious attachment between them had been a naive phrase which he had once overheard craive utter to a mutual acquaintance: "old g.j.'s so subtle, isn't he?"
g.j. said to himself, reconsidering the proposal:
"and why on earth not?"
and then aloud, soothingly, to craive:
"all right! all right!"
the major brightened and said to molder:
"you'll come, of course?"
"oh, rather!" answered molder, quite simply.
and g.j., again to himself, said:
"i am a simpleton."
the major's pleading, and the spectacle of the two officers with their precarious hold on life, humiliated g.j. as well as touched him. and, if only in order to avoid the momentary humiliation, he would have been well content to be able to roll back his existence and to have had a military training and to be with them in the sacred and proud uniform.
"now listen here!" said the major. "about the aforesaid pretty ladies—"
there they stood together in the corner, hiding several of rops's eccentricities, ostensibly discussing art, charity, world-politics, the strategy of war, the casualty lists.
