THE COMPLETE WORKS OF E. F. BENSON (Illustrated Edition). Эдвард Бенсон

Two

       Table of Contents

      There is not in all England a town so blatantly picturesque as Tilling, nor one, for the lover of level marsh land, of tall reedy dykes, of enormous sunsets and rims of blue sea on the horizon, with so fortunate an environment. The hill on which it is built rises steeply from the level land, and, crowned by the great grave church so conveniently close to Miss Mapp's residence, positively consists of quaint corners, rough-cast and timber cottages, and mellow Georgian fronts. Corners and quaintnesses, gems, glimpses and bits are an obsession to the artist, and in consequence, during the summer months, not only did the majority of its inhabitants turn out into the cobbled ways with sketching-blocks, canvases and paintboxes, but every morning brought into the town charabancs from neighbouring places loaded with passengers, many of whom joined the artistic residents, and you would have thought (until an inspection of their productions convinced you of the contrary) that some tremendous outburst of Art was rivalling the Italian Renaissance. For those who were capable of tackling straight lines and the intricacies of perspective, there were the steep cobbled streets of charming and irregular architecture, while for those who rightly felt themselves colourists rather than architectural draughtsmen, there was the view from the top of the hill over the marshes. There, but for one straight line to mark the horizon (and that could easily be misty) there were no petty conventionalities in the way of perspective, and the eager practitioner could almost instantly plunge into vivid greens and celestial blues, or, at sunset, into pinks and chromes and rose-madder.

      Tourists who had no pictorial gifts would pick their way among the sketchers, and search the shops for cracked china and bits of brass. Few if any of them left without purchasing one of the famous Tilling money-boxes, made in the shape of a pottery pig, who bore on his back that remarkable legend of his authenticity which ran:

      I won't be druv,

       Though I am willing.

       Good-morning, my love,

       Said the Pig of Tilling.

      Miss Mapp had a long shelf full of these in every colour to adorn her dining-room. The one which completed her collection, of a pleasant magenta colour, had only just been acquired. She called them "My sweet rainbow of piggies," and often when she came down to breakfast, especially if Withers was in the room, she said: "Good-morning, quaint little piggies." When Withers had left the room she counted them.

      The corner where the street took a turn towards the church, just below the window of her garden-room, was easily the most popular stance for sketchers. You were bewildered and bowled over by "bits". For the most accomplished of all there was that rarely attempted feat, the view of the steep downward street, which, in spite of all the efforts of the artist, insisted, in the sketch, on going up hill instead. Then, next in difficulty, was the street after it had turned, running by the gardener's cottage up to the churchyard and the church. This, in spite of its difficulty, was a very favourite subject, for it included, on the right of the street, just beyond Miss Mapp's garden wall, the famous crooked chimney, which was continually copied from every point of view. The expert artist would draw it rather more crooked than it really was, in order that there might be no question that he had not drawn it crooked by accident. This sketch was usually negotiated from the three steps in front of Miss Mapp's front door. Opposite the church-and-chimney-artists would sit others, drawing the front door itself (difficult), and moistening their pencils at their cherry lips, while a little farther down the street was another battalion hard at work at the gabled front of the garden-room and its picturesque bow. It was a favourite occupation of Miss Mapp's, when there was a decent gathering of artists outside, to pull a table right into the window of the garden-room, in full view of them, and, quite unconscious of their presence, to arrange flowers there with a smiling and pensive countenance. She had other little playful public pastimes: she would get her kitten from the house, and induce it to sit on the table while she diverted it with the tassel of the blind, and she would kiss it on its sweet little sooty head, or she would write letters in the window, or play Patience there, and then suddenly become aware that there was no end of ladies and gentlemen looking at her. Sometimes she would come out of the house, if the steps were very full, with her own sketching paraphernalia in her hands and say, ever so coyly: "May I scriggle through?" or ask the squatters on her own steps if they could find a little corner for her. That was so interesting for them: they would remember afterwards that just while they were engaged on their sketches, the lady of that beautiful house at the corner, who had been playing with her kitten in the window, came out to sketch too. She addressed gracious and yet humble remarks to them: "I see you are painting my sweet little home. May I look? Oh, what a lovely little sketch!" Once, on a never-to-be-forgotten day, she observed one of them take a camera from his pocket and rapidly focus her as she stood on the top step. She turned full-faced and smiling to the camera just in time to catch the click of the shutter, but then it was too late to hide her face, and perhaps the picture might appear in the Graphic or the Sketch, or among the posturing nymphs of a neighbouring watering-place . . .

      This afternoon she was content to "scriggle" through the sketchers, and humming a little tune, she passed up to the churchyard. ("Scriggle" was one of her own words, highly popular; it connoted squeezing and wriggling.) There she carefully concealed herself under the boughs of the weeping ash tree directly opposite the famous south porch of the church. She had already drawn in the lines of this south porch on her sketching-block, transferring them there by means of a tracing from a photograph, so that formed a very promising beginning to her sketch. But she was nicely placed not only with regard to her sketch, for, by peeping through the pretty foliage of the tree, she could command the front door of Mrs Poppit's (M.B.E.) house.

      Miss Mapp's plans for the bridge-party had, of course, been completely upset by the encounter with Irene in the High Street. Up till that moment she had imagined that, with the two ladies of the house and the Bartletts and the Major and the Captain and Godiva and herself, two complete tables of bridge would be formed, and she had, therefore, determined that she would not be able to squeeze the party into her numerous engagements, thereby spoiling the second table. But now everything was changed: there were eight without her, and unless, at a quarter to four, she saw reason to suppose, by noting the arrivals at the house, that three bridge tables were in contemplation, she had made up her mind to "squeeze it in", so that there would be nine gamblers, and Isabel or her mother, if they had any sense of hospitality to their guests, would be compelled to sit out for ever and ever. Miss Mapp had been urgently invited: sweet Isabel had made a great point of her squeezing it in, and if sweet Isabel, in order to be certain of a company of eight, had asked quaint Irene as well, it would serve her right. An additional reason, besides this piece of good nature in managing to squeeze it in, for the sake of sweet Isabel, lay in the fact that she would be able to take some redcurrant fool, and after one spoonful exclaim "Delicious", and leave the rest uneaten.

      The white butterflies and the swallows were still enjoying themselves in the sunshine, and so, too, were the gnats, about whose pleasure, especially when they settled on her face, Miss Mapp did not care so much. But soon she quite ceased to regard them, for, before the quaint little gilded boys on each side of the clock above the north porch had hammered out the three-quarters after three on their bells, visitors began to arrive at the Poppits' door, and Miss Mapp was very active looking through the boughs of the weeping ash and sitting down again to smile and ponder over her sketch with her head a little on one side, if anybody approached. One by one the expected guests presented themselves and were admitted: Major Flint and Captain Puffin, the Padre and his wife, darling Diva with her head muffled in a "cloud", and finally Irene, still dressed as she had been in the morning, and probably reeking with scarlet-fever. With the two Poppits these made eight players, so as soon as Irene had gone in, Miss Mapp hastily put her sketching things away, and holding her admirably accurate drawing with its wash of sky not quite dry, in her hand, hurried to the door, for it would never do to arrive after the two tables had started, since in that case it would be she who would have to sit out.

      Boon opened the door to her three staccato little knocks, and sulkily consulted his list. She duly appeared on it and was admitted. Having banged the door behind her he crushed the list up in his hand and threw it into the fireplace: all those whose presence was desired had arrived, and Boon