and there was left only an Elizabethan mansion, curiously misnamed "The Towers," to be transferred to his portfolio. Here, oddly enough, he had been rebuffed. A note to the owner, Mortimer Fenley, banker and super City man, asking permission to enter the park of an afternoon, had met with a curt refusal.
Trenholme, of course, was surprised, since he was paying the man a rare compliment; he had expressed in the inn his full and free opinion concerning all money grubbers, and the Fenley species thereof in particular; whereupon the stout Eliza, who classed the Fenley family as "rubbish," informed him that there was a right of way through the park, and that from a certain point near a lake he could sketch the grand old manor house to his heart's content, let the Fenleys and their keepers scowl as they chose.
The village barber, too, bore out Eliza's statement.
"A rare old row there was in Roxton twenty year ago, when Fenley fust kem here, an' tried to close the path," said the barber. "But we beat him, we did, an' well he knows it. Not many folk use it nowadays, 'coss the artful ole dodger opened a new road to the station; but some of us makes a point of strollin' that way on a Sunday afternoon, just to look at the pheasants an' rabbits, an' it's a treat to see the head keeper's face when we go through the lodge gates at the Easton end, for that is the line the path takes."
Here followed a detailed description, for the Roxton barber, like every other barber, could chatter like a magpie; it was in this wise that Trenholme was able to defy the laws forbidding trespass, and score off the seemingly uncivil owner of a historical dwelling.
He little imagined, that glorious June morning, that he was entering on a road of strange adventure. He had chosen an early hour purposely. Not only were the lights and shadows perfect for water color, but it was highly probable that he would be able to come and go without attracting attention. He had no wish to annoy Fenley, or quarrel with the man's myrmidons. Indeed, he would not have visited the estate at all if the magazine editor had not specially stipulated for a full-page drawing of the house.
Now, all would have been well had the barber's directions proved as bald in spirit as they were in letter.
"After passin' 'The Waggoner's Rest,' you'll come to a pair of iron gates on the right," he had said. "On one side there's a swing gate. Go through, an' make straight for a clump of cedars on top of a little hill. There mayn't be much of a path, but that's it. It's reelly a short cut to the Easton gate on the London road."
Yet who could guess what a snare for an artist's feet lay in those few words? How could Trenholme realize that "a pair of iron gates" would prove to be an almost perfect example of Christopher Wren's genius as a designer of wrought iron? Trenholme's eyes sparkled when he beheld this prize, with its acanthus leaves and roses beaten out with wonderful freedom and beauty of curve. A careful drawing was the result. Another result, uncounted by him, but of singular importance in its outcome was the delay of forty minutes thus entailed.
He crossed an undulating park, and had no difficulty in tracing an almost disused path in certain grass-grown furrows leading past the group of cedars. On reaching this point he obtained a fair view of the mansion; but the sun was directly behind him, as the house faced southeast, and he decided to encroach some few yards on private property. A brier-laden slope fell from the other side of the trees to a delightful-looking lake fed by a tiny cascade on the east side. An ideal spot, he thought.
This, then, was the stage setting: Trenholme, screened by black cedars and luxuriant brushwood, was seated about fifty feet above the level of the lake and some forty yards from its nearest sedges. The lake itself, largely artificial, lay at the foot of the waterfall, which gurgled and splashed down a miniature precipice of moss-covered bowlders. Here and there a rock, a copper beech, a silver larch, or a few flowering shrubs cast strong shadows on the dark, pellucid mirror beneath. On a cunningly contrived promontory of brown rock stood a white marble statue of Venus Aphrodite, and the ripples from the cascade seemed to endow with life the shimmering reflection of the goddess.
Beyond the lake a smooth lawn, dotted with fine old oaks and chestnuts, rose gently for a quarter of a mile to the Italian gardens in front of the house. To the left, the park was bounded by woods. To the right was another wood, partly concealing a series of ravines and disused quarries. Altogether a charming setting for an Elizabethan manor, pastoral, peaceful, quite English, and seeming on that placid June morning so remote from the crowded mart that it was hard to believe the nearest milestone, with its "London, 30 miles."
Had Trenholme glanced at his watch he would have discovered that the hour was now half past seven, or nearly an hour later than he had planned. But Art, which is long-lived, recks little of Time, an evanescent thing. He was enthusiastic over his subject. He would make not one sketch, but two. That lake, like the gates, was worthy of immortality. Of course, the house must come first. He unpacked a canvas hold-all, and soon was busy.
He worked with the speed and assured confidence of a master. By years of patient industry he had wrested from Nature the secrets of her tints and tone values. Quickly there grew into being an exquisitely bright and well balanced drawing, impressionist, but true; a harmony of color and atmosphere. Leaving subtleties to the quiet thought of the studio, he turned to the lake. Here the lights and shadows were bolder. They demanded the accurate appraisement of the half closed eye. He was so absorbed in his task that he was blithely unconscious of the approach of a girl from the house, and his first glimpse of her was forthcoming when she crossed the last spread of velvet sward which separated a cluster of rhododendrons in the middle distance from the farther edge of the lake.
It was not altogether surprising that he had not seen her earlier. She wore a green coat and skirt and a most curiously shaped hat of the same hue, so that her colors blended with the landscape. Moreover, she was walking rapidly, and had covered the intervening quarter of a mile in four minutes or less.
He thought at first that she was heading straight for his lofty perch, and was perhaps bent on questioning his right to be there at all. But he was promptly undeceived. Her mind was set on one object, and her eyes did not travel beyond it. She no more suspected that an artist was lurking in the shade of the cedars than she did that the man in the moon was gazing blandly at her above their close-packed foliage. She came on with rapid, graceful strides, stood for a moment by the side of the Venus, and then, while Trenholme literally gasped for breath, shed coat, skirt and shoes, revealing a slim form clad in a dark blue bathing costume, and dived into the lake.
Trenholme had never felt more surprised. The change of costume was so unexpected, the girl's complete ignorance of his presence so obvious, that he regarded himself as a confessed intruder, somewhat akin to Peeping Tom of Coventry. He was utterly at a loss how to act. If he stood up and essayed a hurried retreat, the girl might be frightened, and would unquestionably be annoyed. It was impossible to creep away unseen. He was well below the crest of the slope crowned by the trees, and the nymph now disporting in the lake could hardly fail to discover him, no matter how deftly he crouched and twisted.
At this crisis, the artistic instinct triumphed. He became aware that the one element lacking hitherto, the element that lent magic to the beauty of the lake and its vivid environment of color, was the touch of life brought by the swimmer. He caught the flash of her limbs as they moved rhythmically through the dark, clear water, and it seemed almost as if the gods had striven to be kind in sending this naiad to complete a perfect setting. With stealthy hands he drew forth a small canvas. Oil, not mild water color, was the fitting medium to portray this Eden. Shrinking back under cover of a leafy brier, he began a third sketch in which the dominant note was the contrast between the living woman and the marble Venus.
For fifteen minutes the girl disported herself like a dolphin. Evidently she was a practiced swimmer, and had at her command all the resources of the art. At last she climbed out, and stood dripping on the sun-laved rock beside the statue. Trenholme had foreseen this attitude – had, in fact, painted with feverish energy in anticipation of it. The comparison was too striking to be missed by an artist. Were it not for the tightly clinging garments, the pair would have provided a charming representation of Galatea in stone and Galatea after Pygmalion's frenzy had warmed her into life.
Trenholme was absolutely deaf now to any consideration save that of artistic endeavor. With a swift accuracy that was nearly marvelous he put on the canvas the sheen of faultless limbs and slender neck. He even