The Judgment Books. Benson Edward Frederic

which it had been groping in darkness, and flung it open, letting in the full blaze of a complete idea. There is only one human being on earth whom any artist who ever lived could paint completely. It is only a man himself who wholly knows both the side he turns to the world and the side he would hide even from himself but cannot.

      Frank's hands trembled nervously, and his breath came and went quickly. He would paint himself as no man yet had ever painted either himself or any one else. He would put his Jekyll and Hyde on the canvas for men to wonder at and to be silent before. He would do what no artist had ever yet done. He thought of that room in the Uffizi at Florence which holds the portrait of the Italian families, each painted by himself: Raphael, with his young, beardless face – Raphael, the painter, and no more; Andrea del Sarto, not the painter, but the liver. Each of them had painted marvellously outside themselves – one gift, one way of love. But he would do more: he would paint himself as the husband and lover of Margery, the Jekyll of himself, who had known and knew the best capabilities for loving in his nature; and he would paint his Hyde, the man who had lived as other men in Paris – a Bohemian, careless, worthless, finding this thing and that honey at the moment, but to the soul wormwood and bitterness. The wormwood should be there, and the honey; his love for his wife and his rejection and loathing of those earlier days which he had thought were dead, but which had risen and without their honey. His own face, painted by himself, should be the book out of which he should be judged; for love and lust, happiness and misery, innocence and guilt – all unite their indelible marks there, and no one can ever efface the other.

      Then, because he felt he was on the threshold of something new, and because all men, the strongest and weakest alike, are afraid, desperately afraid, of everything which they know nothing of, he became suddenly frightened.

      What would this thing be? he asked himself. What would happen to himself when he had done it? Would he have raised his dead permanently? Would they refuse to be buried again now that he had of his own will perpetuated them in his art? And Margery, what would she have to say to the ghosts she would not allow him to tell her about?

      But he was not a coward, and he did not mean to turn back because of this sudden spasm of fright. He would begin to-morrow; he could not help beginning at once, for, as he often told Margery, when the idea was ready he had to record it; the artist's inexorable need for expression could not be gainsaid or trifled with. It must come out.

      Frank Trevor had a very mobile face, a face which his feelings played on freely as a breeze ruffling a moorland pool of water. His dark-gray eyes, set deep under their black eyebrows, were kindled and glowing with excitement. In such moments he looked strikingly handsome, though his features, taken singly, were not faultless. His mouth was too short and too full-lipped for actual beauty; but now, as he sat there, the very eagerness and vitality that came and went, as now one aspect of his idea and now another struck him, gave a fineness to every feature that made it worthy of an admiration which a more perfectly moulded face might well have failed to deserve.

      But there was another fear as well, a fear so fantastic that he was almost ashamed of it; but, as he thought of it, it grew upon him. He had always felt when he painted a portrait that virtue went out of him; that he put actually a part of his personality into his picture. What, then, would happen if he painted his own portrait completely? He knew his idea was fantastic and unreasonable; but the fear – a fear again of something that was new – was there, lurking in a shaded corner of his mind. But of this he could speak to Margery, and Margery's cool, smiling way of dealing with phantasms always had a most evaporating effect on them. Of the other fear he had wished to speak to her once, but she did not wish to hear, and he wished to speak to her of it no longer.

      He looked at his watch and found it was nearly tea-time; he had been there over two hours, and he wondered to himself whether it had seemed more like two years or two minutes. He rose to go, but before leaving the room he took a long look round it, feeling that he was looking at it for perhaps the last time; at any rate, that it could never look the same again.

      "We only register a change in ourselves," he thought, "by the impression that other things make on us. If our taste changes we say that a thing we used to think beautiful is ugly. It is not so – it is the same as it always was. I cannot paint this picture without changing myself. What will the change be?"

      The yellow, crumpled programme and the copy of Jekyll and Hyde lay together unregarded on the table. When we have drunk our medicine we do not concern ourselves with the medicine-bottle – unless, like the immortal Mrs. Pullet, we take a vague, melancholy pleasure in recalling how much medicine we have taken. But that dear lady's worst enemies could not have found a single point in common between her and Frank Trevor.

      CHAPTER II

      Jack Armitage, as we know, though he was aware it was tea-time, was filling his pipe. He had accomplished this to his satisfaction, and had just got it comfortably under way when Mrs. Trevor, also with tea in her mind, came down the steps leading from the terrace and strolled towards him.

      "Where's Frank?" she asked. "I thought he said he was going to sit about with you till tea?"

      "He said so," said Jack; "but he went into his studio to get a book, and he has not appeared since."

      "Well, I suppose he's in the house," she said. "In any case it's five, and we sha'n't get more than two hours on the river. So come in."

      Jack often caught himself regretting he was not a portrait-painter when he looked at Mrs. Trevor. She was, he told himself, one of the beauties of all time, and her black hair, black eyes, and delicately chiselled nose had caused many young men on the slightest acquaintance to wish that she had not decided to change her maiden name to Trevor. It was also noticeable that as their acquaintance became less slight their regret became proportionately keener. Frank had done a portrait of her, the first that brought him prominently into notice, and, as Jack thought, his best. By one of those daring experiments which in his hands seemed always to succeed, he had represented her a tall, stately figure, dressed in white, standing in front of a great Chinese screen covered with writhing dragons in blue and gold, a nightmare of hideous forms in wonderful colors. It was a bold experiment, but certainly, to Jack's mind, he had managed with miraculous success to bring out what was almost as characteristic of his wife's mind as her beauty was of her body, and which, for want of a better word, he called her wholesomeness. The contrast between that and the exquisite deformities behind her hit eyes, so to speak, straight in the face. But it hit fair, and it was triumphant.

      Mrs. Trevor paused on the edge of the gravel-path and picked up the lonely tennis-ball.

      "To think that it should have been there all the time!" she said. "How blind you are, Mr. Armitage!"

      Jack rose and knocked out his pipe. "The Fates are unkind," he said. "You call me in to tea just when I've lit my pipe, and then go and blame me for not finding the tennis-ball, which you told me was not worth while looking for."

      "I didn't know it was in the gutter," she said. "I thought it had gone into the flower-beds."

      "Nor did I know it was in the gutter, or I should have looked for it there."

      Margery laughed.

      "I wish you were stopping on longer," she said, "and not going to-morrow. Surely you needn't go?"

      "You are too kind, but the Fates are still unkind," he said. "I have already put it off a week, during which time my brother has been languishing alone at New Quay."

      "To New Quay? I didn't know you were going there. Frank and I know New Quay very well."

      Frank was in the drawing-room when they went in, giving orders that the studio should be thoroughly swept out and dusted that evening.

      "I'm going to begin painting to-morrow," he announced, abruptly, to the others as they came in.

      Margery turned to Jack.

      "No more tennis for me unless you stop," she said. "Have you ever been with us when Frank is painting? I see nothing of him all day, and he gobbles his meals and scowls at the butler."

      The footman came in again with the tea-things.

      "And take that big looking-glass out of the spare bedroom," said Frank to him, "and put it in the studio."

      "What