"The forehead denotes intellectuality; the eyes tenderness and courage. The lower part of the face, on the other hand, suggests a good deal of animalism: the finely cut nostrils show egotism--another word for selfishness; the nose itself, vanity; the lips, sensuousness and love of luxury. I wonder what sort of woman she really is." He laid the photograph back upon the desk.
"I did not know you were so firm a believer in Lavater," I said.
"Only when he agrees with what I know," he answered. "Have I not described her rightly?"
"I do not care to discuss her in that vein," I replied, feeling the blood mounting to my cheeks.
"Too sacred a subject?" he laughed. "It is the one ingredient of manhood I lack, ideality--an unfortunate deficiency for me. I must probe, analyse, dissect, see the thing as it really is, know it for what it is."
"Well, she is the Countess Huescar now," I said. "For God's sake, leave her alone."
He turned to me with the snarl of a beast. "How do you know she is the Countess Huescar? Is it a special breed of woman made on purpose?
How do you know she isn't my wife--brain and heart, flesh and blood, mine? If she was, do you think I should give her up because some fool has stuck his label on her?"
I felt the anger burning in my eyes. "Yours, his! She is no man's property. She is herself," I cried.
The wrinkles round his nose and mouth smoothed themselves out. "You need not be afraid," he sneered. "As you say, she is the Countess Huescar. Can you imagine her as Mrs. Doctor Washburn? I can't." He took her photograph in his hand again. "The lower part of the face is the true index to the character. It shows the animal, and it is the animal that rules. The soul, the intellect, it comes and goes; the animal remains always. Sensuousness, love of luxury, vanity, those are the strings to which she dances. To be a Countess is of more importance to her than to be a woman. She is his, not mine. Let him keep her."
"You do not know her," I answered; "you never have. You listen to what she says. She does not know herself."
He looked at me queerly. "What do you think her to be?" he asked me.
"A true woman, not the shallow thing she seems?"
"A true woman," I persisted stoutly, "that you have not eyes enough to see."
"You little fool!" he muttered, with the same queer look--"you little fool. But let us hope you are wrong, Paul. Let us hope, for her sake, you are wrong."
It was at one of Deleglise's Sunday suppers that I first met Urban Vane. The position, nor even the character, I fear it must be confessed, of his guests was never enquired into by old Deleglise. A ******-minded, kindly old fellow himself, it was his fate to be occasionally surprised and grieved at the discovery that even the most entertaining of supper companions could fall short of the highest standard of conventional morality.
"Dear, dear me!" he would complain, pacing up and down his studio with puzzled visage. "The last man in the world of whom I should have expected to hear it. So original in all his ideas. Are you quite sure?"
"I am afraid there can he no doubt about it."
"I can't believe it! I really can't believe it! One of the most amusing men I ever met!"
I remember a well-known artist one evening telling us with much sense of humour how he had just completed the sale of an old Spanish cabinet to two distinct and separate purchasers.
"I sold it first," recounted the little gentleman with glee, "to old Jong, the dealer. He has been worrying me about it for the last three months, and on Saturday afternoon, hearing that I was clearing out and going abroad, he came round again. 'Well, I am not sure I am in a position to sell it,' I told him. 'Who'll know?' he asked. 'They are not in, are they?' 'Not yet,' I answered, 'but I expect they will be some time on Monday.' 'Tell your man to open the door to me at eight o'clock on Monday morning,' he replied, 'we'll have it away without any fuss. There needn't he any receipt. I'm lending you a hundred pounds, in cash.' I worked him up to a hundred and twenty, and he paid me. Upon my word, I should never have thought of it, if he hadn't put the idea into my head. But turning round at the door:
'You won't go and sell it to some one else,' he suggested, 'between now and Monday?' It serves him right for his damned impertinence.
'Send and take it away to-day if you are at all nervous,' I told him.
He looked at the thing, it is about twelve feet high altogether. 'I would if I could get a cart,' he muttered. Then an idea struck him.
'Does the top come off?' 'See for yourself,' I answered; 'it's your cabinet, not mine.' I was feeling rather annoyed with him. He examined it. 'That's all right,' he said; 'merely a couple of screws.
I'll take the top with me now on my cab.' He got a man in, and they took the upper cupboard away, leaving me the bottom. Two hours later old Sir George called to see me about his wife's portrait. The first thing he set eyes on was the remains of the cabinet: he had always admired it. 'Hallo,' he asked, 'are you breaking up the studio literally? What have you done with the other half?' 'I've sent it round to Jong's--' He didn't give me time to finish. 'Save Jong's commission and sell it to me direct,' he said. 'We won't argue about the price and I'll pay you in cash.'
"Well, if Providence comes forward and insists on taking charge of a man, it is hardly good manners to flout her. Besides, his wife's portrait is worth twice as much as he is paying for it. He handed me over the money in notes. 'Things not going quite smoothly with you just at the moment?' he asked me. 'Oh, about the same as usual,' I told him. 'You won't be offended at my taking it away with me this evening?' he asked. 'Not in the least,' I answered; 'you'll get it on the top of a four-wheeled cab.' We called in a couple of men, and I helped them down with it, and confoundedly heavy it was. 'I shall send round to Jong's for the other half on Monday morning,' he said, speaking with his head through the cab window, 'and explain it to him.' 'Do,' I answered; 'he'll understand.'