"I'm very happy to make your acquaintance, Sir," said Mrs. Talcott, giving Gregory her hand.

"Mrs. Talcott is a great gardener," Karen went on. "Tante has the ideas and Mrs. Talcott carries them out. And sometimes they aren't easy to carry out, are they, Mrs. Talcott!"

Mrs. Talcott, her hands folded at her waist, contemplated her work.

"Mitch.e.l.l made a mistake about the campanulas, Karen," she remarked.

"He's put the clump of blue over yonder, instead of the white."

"Oh, Mrs. Talcott!" Karen turned to look. "And Tante specially wanted the white there so that they should be against the sea. How very stupid of Mitch.e.l.l."

"They'll have to come out, I presume," said Mrs. Talcott, but without emotion.

"And where is the _pyramidalis alba_?"

"Well, he's got that up in the flagged garden where she wanted the blue," said Mrs. Talcott.

"And it will be so bad for them to move them again! What a pity! They have been sent for specially," Karen explained to Gregory. "My guardian heard of a particularly beautiful kind, and the white were to be for this corner of the wall, you see that they would look very lovely against the sea, and the blue were to be among the white veronica and white lupins in the flagged garden. And now they are all planted wrong, and so accurately and solidly wrong," she walked ahead of Mrs. Talcott examining the offending plants. "Are you quite sure they're wrong, Mrs.

Talcott?"

"Dead sure," Mrs. Talcott made reply. "He did it this morning when I was in the dairy. He didn't understand, or got muddled, or something. I'll commence changing them round as soon as I've done this weeding. It'll be a good two hours' work."

"No, you must not do it till I can help you," said Karen. "To-morrow morning." She had a manner at once deferential and masterful of addressing the old lady. They were friendly without being intimate. "Now promise me that you will wait till I can help you."

"Well, I guess I won't promise. I like to get things off my mind right away," said Mrs. Talcott. If Karen was masterful, she was not yielding.

"I'll see how the time goes after tea. Don't you bother about it."

They left her bending again over her beds. "She is very strong, but I think sometimes she works too hard," said Karen.

By a winding way she led him to the high flagged garden with its encompa.s.sing trees and far blue prospect, and here they sat for a little while in the sunlight and talked. "How different all this must be from your home in Northumberland," said Karen. "I have never been to Northumberland. Is your brother much there? Is he like you? Have you brothers and sisters?"

She questioned him with the frank interest with which he wished to question her. He told her about Oliver and said that he wasn't like himself. A faint flavour of irony came into his voice in speaking of his elder brother and finding Karen's calm eyes dwelling on him he wondered if she thought him unfair. "We always get on well enough," he said, "but we haven't much in common. He is a good, dull fellow, half alive."

"And you are very much alive."

"Yes, on the whole, I think so," he answered, smiling, but sensitively aware of a possible hint of irony in her. But she had intended none. She continued to look at him calmly. "You are making use of all of yourself; that is to be alive, Tante always says; and I feel that it is true of you. And his wife? the wife of the dull hunting brother? Does she hunt too and think of foxes most?"

He could a.s.sure her that Betty quite made up in the variety of her activities for Oliver's deficiencies. Karen was interested in the American Betty and especially in hearing that she had been at the concert from which their own acquaintance dated. She asked him, walking back to the house, if he had seen Mrs. Forrester. "She is an old friend of yours, isn't she?" she said.

"That must be nice. She was so kind to me that last day in London. Tante is very fond of her; very, very fond. I hardly think there is anyone of all her friends she has more feeling for. Here is Victor, come to greet you. You remember Victor, and how he nearly missed the train."

The great, benignant dog came down the path to them and as they walked Karen laid her hand upon his head, telling Gregory that Sir Alliston had given him to Tante when he was quite a tiny puppy. "You saw Sir Alliston, that sad, gentle poet? There is another person that Tante loves." It was with a slight stir of discomfort that Gregory realised more fully from these a.s.sessments how final for Karen was the question of Tante's likes and dislikes.

They were on the verandah when she paused. "But I think, though the music-room is closed, that you must see the portrait."

"The portrait? Of you?" Actually, and sincerely, he was off the track.

"Of me? Oh no," said Karen, laughing a little. "Why should it be of me?

Of my guardian, of course. Perhaps you know it. It is by Sargent and was in the Royal Academy some years ago."

"I must have missed it. Am I to see it now?"

"Yes. I will ask Mrs. Talcott for the key and we will draw all the blinds and you shall see it." They walked back to the garden in search of Mrs. Talcott.

"Do you like it?" Gregory asked.

Karen reflected for a moment and then said; "He understands her better than Mr. Drew does, or, at all events, does not try to make up for what he does not understand by elaborations. But there are blanks!--oh blanks!--However, it is a very magnificent picture and you shall see.

Mrs. Talcott, may I have the key of the music-room? I want to show the Sargent to Mr. Jardine."

They had come to the old woman again, and again she slowly righted herself from her stooping posture. "It's in my room, I'll come and get it," said Mrs. Talcott, and on Karen's protesting against this, she observed that it was about tea-time, anyway. She preceded them to the house.

"But I do beg," Karen stopped her in the hall. "Let me get it. You shall tell me where it is."

Mrs. Talcott yielded. "In my left top drawer on the right hand side under the pile of handkerchiefs," she recited. "Thanks, Karen."

While Karen was gone, Mrs. Talcott in the hall stood in front of Gregory and looked past him in silence into the morning-room. She did not seem to feel it in any sense inc.u.mbent upon her to entertain him, though there was nothing forbidding in her manner. But happening presently, while they waited, to glance at the droll old woman, he found her eyes fixed on him in a singularly piercing, if singularly impa.s.sive, gaze.

She looked away again with no change of expression, shifting her weight from one hip to the other, and something in the att.i.tude suggested to Gregory that she had spent a great part of her life in waiting. She had a capacity, he inferred, for indefinite waiting. Karen came happily running down the stairs, holding the key.

They went into the dim, white room where swathed presences stood as if austerely welcoming them. Karen drew up the blind and Mrs. Talcott, going to the end of the room, mounted a chair and dexterously twitched from its place the sheet that covered the great portrait. Then, standing beside it, and still holding its covering, she looked, not at it, but, meditatively, out at the sea that crossed with its horizon line the four long windows. Karen, also in silence, came and stood beside Gregory.

It was indeed a remarkable picture; white and black; silver and green.

To a painter's eye the arresting balance of these colours would have first appealed and the defiant charm with which the angular surfaces of the grand piano and the soft curves of the woman seated at it were combined. The almost impalpable white of an azalea with its flame-green foliage, and a silver statuette, poised high on a slender column of white chalcedony, were the only accessories. But after the first delighted draught of wonder it was the face of Madame Okraska--pre-eminently Madame Okraska in this portrait--that compelled one to concentration. She sat, turning from the piano, her knees crossed, one arm cast over them, the other resting along the edge of the key-board. The head drooped slightly and the eyes looked out just below the spectator's eyes, so that in poise and glance it recalled somewhat Michael Angelo's Lorenzo da Medici. And something that Gregory had felt in her from the first, and that had roused in him dim hostilities and ironies, was now more fully revealed. The artist seemed to have looked through the soft mask of the woman's flesh, through the disturbing and compelling forces of her own consciousness, to the very structure and anatomy of her character. Atavistic, sub-conscious revelations were in the face. It was to see, in terms of art, a scientific demonstration of race, temperament, and the results of their interplay with environment.

The languors, the feverish indolences, the caprice of generations of Spanish exiles were there, and the ambiguity, the fierceness of Slav ancestry. And, subtly interwoven, were the marks of her public life upon her. The face, so moulded to indifference, was yet so aware of observation, so adjusted to it, so insatiable of it, that, sitting there, absorbed and brooding, lovely with her looped pearls and diamonds, her silver broideries and silken fringes, she was a product of the public, a creature reared on adulation, breathing it in softly, peacefully, as the white flowers beside her breathed in light and air.

Her craftsmanship, her genius, though indicated, were submerged in this pervasive quality of an indifference based securely on the ever present consciousness that none could be indifferent to her. And more than the pa.s.sive acceptance and security was indicated. Strange, sleeping potentialities lurked in the face; as at the turn of a kaleidoscope, Gregory could fancy it suddenly transformed, by some hostile touch, some menace, to a savage violence and rapacity. He was aware, standing between the girl who worshipped her and the devoted old woman, of the pang of a curious anxiety.

"Well," said Karen at last, and she looked from the picture to him.

"What do you think of it?"

"It's splendid," said Gregory. "It's very fine. And beautiful."

"But does it altogether satisfy you?" Her eyes were again on the portrait. "What is lacking, I cannot say; but it seems to me that it is painted with intelligence only, not with love. It is Madame Okraska, the great genius; but it is not Tante; it is not even Madame von Marwitz."

The portrait seemed to Gregory to go so much further and so much deeper than what he had himself seen that it was difficult to believe that hers might be the deepest vision, but he was glad to take refuge in the possibility. "It does seem to me wonderfully like," he said. "But then I don't know 'Tante.'"

Karen now glanced at Mrs. Talcott. "It is a great bone of contention between us," she said, smiling at the old lady, yet smiling, Gregory observed, with a touch of challenge. "She feels it quite complete. That, in someone who does know Tante, I cannot understand."

Mrs. Talcott, making no reply, glanced up at the portrait and then, again, out at the sea.

Gregory looked at her with awakened curiosity. This agreement was an unexpected prop for him. "You, too, think it a perfect likeness?" he asked her. Her old blue eyes, old in the antique tranquillity of their regard, yet still of such a vivid, unfaded turquoise, turned on him and again he had that impression of an impa.s.sive piercing.

"It seems to me about as good a picture as anyone's likely to get," said Mrs. Talcott.

"Yes, but, oh Mrs. Talcott"--with controlled impatience Karen took her up--"surely you see,--it isn't Tante. It is a genius, a great woman, a beautiful woman, a beautiful and poetic creature, of course;--he has seen all that--who wouldn't? but it is almost a woman without a heart.

There is something heartless there. I always feel it. And when one thinks of Tante!" And Mrs. Talcott remaining silent, she insisted: "Can you really say you don't see what I mean?"

"Well, I never cared much about pictures anyway," Mrs. Talcott now remarked.

"Well, but you care for this one more than I do!" Karen returned, with a laugh of vexation. "It isn't a question of pictures; it's a question of a likeness. You really think that this does Tante justice? It's that I can't understand."