Tante. Anne Douglas Sedgwick

seems remote.

      Madame Okraska was pausing on her way from St. Petersburg to New York and this was the only concert she was to give in London that winter. For many hours the enthusiasts who had come to secure unreserved seats had been sitting on the stone stairs that led to the balcony or gallery, or on the still narrower, darker and colder flight that led to the orchestra from Piccadilly Place. From the adjacent hall they could hear the strains of the Moore & Burgess Minstrels, blatant and innocuously vulgar; and the determined mirth, anatomized by distance, sounded a little melancholy. To those of an imaginative turn of mind it might have seemed that they waited in a tunnel at one far end of which could be perceived the tiny memory of tea at an Aerated Bread shop and at the other the vision of the delights to which they would emerge. For there was no one in the world like Madame Okraska, and to see and hear her was worth cold and weariness and hunger. Not only was she the most famous of living pianists but one of the most beautiful of women; and upon this restoring fact many of the most weary stayed themselves, returning again and again to gaze at the pictured face that adorned the outer cover of the programme.

      Illuminated by chill gas-jets, armed with books and sandwiches, the serried and devoted ranks were composed of typical concert-goers, of types, in some cases, becoming as extinct as the muffin-man; young art-students from the suburbs, dressed in Liberty serges and velveteens, and reading ninepenny editions of Browning and Rossetti—though a few, already, were reading Yeats; middle-aged spinsters from Bayswater or South Kensington, who took their weekly concert as they took their daily bath; many earnest young men, soft-hatted and long-haired, studying scores; the usual contingent of the fashionable and economical lady; and the pale-faced business man, bringing an air of duty to the pursuit of pleasure.

      Some time before the doors opened a growing urgency began to make itself felt. People got up from their insecurely balanced camp-stools or rose stiffly from the stone steps to turn and stand shoulder to shoulder, subtly transformed from comrades in discomfort to combatants for a hazardous reward. The field for personal endeavour was small; the stairs were narrow and their occupants packed like sardines; yet everybody hoped to get a better seat than their positions entitled them to hope for. Hope and fear increased in intensity with the distance from the doors, those mute, mystic doors behind which had not yet been heard a chink or a shuffle and against which leaned, now balefully visible, the earliest comers of all, jaded, pallid, but insufferably assured. The summons came at length in the sound of drawn bolts and chains and a peremptory official voice, blood-tingling as a trumpet-call; and the crowd, shoulder to shoulder and foot to foot, with rigid lips and eyes uplifted, began to mount like one man. Step by step they went, steady and wary, each pressing upon those who went before and presenting a resistant back to those who followed after. The close, emulous contacts bred stealthy strifes and hatreds. A small lady, with short grey hair and thin red face and the conscienceless, smiling eye of a hypnotized creature, drove her way along the wall and mounted with the agility of a lizard to a place several steps above. Others were infected by the successful outlawry and there were some moments of swaying and striving before the crowd adjusted itself to its self-protective solidity. Emerged upon the broader stairs they ascended panting and scurrying, in a wild stampede, to the sudden quiet and chill and emptiness of the familiar hall, with its high-ranged plaster cupids, whose cheeks and breasts and thighs were thrown comically into relief by a thick coating of dust. Here a permanent fog seemed to hang under the roof; only a few lights twinkled frugally; and the querulous voice of the programme-seller punctuated the monotonous torrent of feet. Row upon row, the seats were filled as if by tumultuous waters entering appointed channels, programmes rustled, sandwiches were drawn from clammy packets, and the thin-faced lady, iniquitously ensconced in the middle of the front row in the gallery, had taken out a strip of knitting and was blandly ready for the evening.

      "I always come up here," said one of the ladies from Kensington to a friend. "One hears her pianissimo more perfectly than anywhere else. What a magnificent programme! I shall be glad to hear her give the Schumann Fantaisie in C Major again."

      "I think I look forward more to the Bach Fantaisie than to anything," said her companion.

      She exposed herself to a pained protest: "Oh surely not; not Bach; I do not come for my Bach to Okraska. She belongs too definitely to the romantics to grasp Bach. Beethoven, if you will; she may give us the Appassionata superbly; but not Bach; she lacks self-effacement."

      "Liszt said that no one played Bach as she did."

      Authority did not serve her. "Liszt may have said it; Brahms would not have;" was the rejoinder.

      Down in the orchestra chairs the audience was roughly to be divided into the technical and the personal devotees; those who chose seats from which they could dwell upon Madame Okraska's full face over the shining surfaces of the piano or upon her profile from the side; and those who, from behind her back, were dedicated to the study of her magical hands.

      "I do hope," said a girl in the centre of the front row of chairs, a place of dizzy joy, for one might almost touch the goddess as she sat at the piano, "I do hope she's not getting fat. Someone said they heard she was. I never want to see her again if she gets fat. It would be too awful."

      The girl with her conjectured sadly that Madame Okraska must be well over forty.

      "I beg your pardon," a massive lady dressed in an embroidered sack-like garment, and wearing many strings of iridescent shells around her throat, leaned forward from behind to say: "She is forty-six; I happen to know; a friend of mine has met Madame Okraska's secretary. Forty-six; but she keeps her beauty wonderfully; her figure is quite beautiful."

      An element of personal excitement was evident in the people who sat in these nearest chairs; it constituted a bond, though by no means a friendly one. Emulation, the irrepressible desire to impart knowledge, broke down normal barriers. The massive lady was slightly flushed and her manner almost menacing. Her information was received with a vague, half resentful murmur.

      "She looks younger," she continued, while her listeners gave her an unwilling yet alert attention. "It is extraordinary how she retains her youth. But it tells, it tells, the tragic life; one sees it in her eyes and lips."

      The first girl now put forward with resolution her pawn of knowledge.

      "It has been tragic, hasn't it. The dreadful man she was married to by her relations when she was hardly more than a child, and the death of her second husband. He was the Baron von Marwitz; her real name is von Marwitz; Okraska is her maiden name. He was drowned in saving her life, you know."

      "The Baron von Marwitz was drowned no one knows how; he was found drowned; she found his body. She went into a convent after his death."

      "A convent? I was reading a life of her in a magazine the other day and nothing was said about a convent."

      The massive lady smiled tolerantly: "Nothing would be. She has a horror of publicity. Yes, she is a mystic as well as an artist; she only resigned the religious life because of what she felt to be her duty to her adopted daughter. One sees the mystical side in her face and hears it in her music."

      Madame Okraska was one of those about whose footsteps legends rise, and legend could add little to the romantic facts of her life;—the poverty of her youth; her début as a child prodigy at Warsaw and the sudden fame that had followed it; the coronets that had been laid at her feet; her private tragedies, cosmopolitan friendships, her scholarship, caprices and generosities. She had been the Egeria, smiling in mystery, of half a dozen famous men. And it was as satisfactory to the devotee to hear that she always wore white and drank coffee for her breakfast, as that Rubinstein and Liszt had blessed her and Leschetitsky said that she had nothing to learn. Her very origin belonged to the realm of romantic fiction. Her father, a Polish music-master in New Orleans, had run away with his pupil, a beautiful Spanish girl of a good Creole family. Their child had been born in Cracow while the Austrians were bombarding it in 1848.

      The lights were now all up and the stalls filling. Ladies and gentlemen from the suburbs, over early, were the first comers; eager schoolgirls marshalled by governesses; scrupulous students with music under their arms, and, finally, the rustling, shining, chattering crowd of fashionable London.

      The