séances were the most delirious. And better even than the excitement of Riseholme was the cause of its excitement, for spiritualism and the truth of inexplicable psychic phenomena had flashed upon them all. Tableaux, romps, Yoga, the "Moonlight Sonata", Shakespeare, Christian Science, Olga herself, uric acid, Elizabethan furniture, the engagement of Colonel Boucher and Mrs Weston, all these tremendous topics had paled like fire in the sunlight before the revelation that had now dawned. By practice and patience, by zealous concentration on crystals and palms, by the waiting for automatic script to develop, you attained to the highest mysteries, and could evoke Cardinal Newman, or Pocky . . .
There was the bed in which the Sybil had slept; there was the fresh vase of flowers, difficult to procure in November, but still obtainable, which she loved to have standing near her. There was the chest of drawers in which she had put her clothes, and Mrs Quantock pulled them open one by one, finding fresh emanations and vibrations everywhere. The lowest one stuck a little, and she had to use force to it . . .
The smile was struck from her face, as it flew open. Inside it were billows and billows of the finest possible muslin. Fold after fold of it she drew out, and with it there came a pair of false eyebrows. She recognised them at once as being Amadeo's. The muslin belonged to Pocky as well.
She needed but a moment's concentrated thought, and in swift succession rejected two courses of action that suggested themselves. The first was to use the muslin herself; it would make summer garments for years. The chief reason against that was that she was a little old for muslin. The second course was to send the whole paraphernalia back to her dear friend, with or without a comment. But that would be tantamount to a direct accusation of fraud. Never any more, if she did that, could she dispense her dear friend to Riseholme like an expensive drug. She would not so utterly burn her boats. There remained only one other judicious course of action, and she got to work.
It had been a cold morning, clear and frosty, and she had caused a good fire to be lit in the Princess's bedroom, for her to dress by. It still prospered in the grate, and Mrs Quantock, having shut the door and locked it, put on to it the false eyebrows, which, as they turned to ash, flew up the chimney. Then she fed it with muslin; yards and yards of muslin she poured on to it; never had there been so much muslin nor that so exquisitely fine. It went to her heart to burn it, but there was no time for minor considerations; every atom of that evidence must be purged by fire. The Princess would certainly not write and say that she had left some eyebrows and a hundred yards of muslin behind her, for, knowing what she did, it would be to her interests as well as Mrs Quantock's that those properties should vanish, as if they never had been.
Up the chimney in sheets of flame went this delightful fabric; sometimes it roared there, as if it had set the chimney on fire, and she had to pause, shielding her scorched face, until the hollow rumbling had died down. But at last the holocaust was over, and she unlocked the door again. No one knew but she, and no one should ever know. The guru had turned out to be a curry-cook, but no intruding Hermy had been here this time. As long as crystals fascinated and automatic writing flourished, the secret of the muslin and the eyebrows should repose in one bosom alone. Riseholme had been electrified by spiritualism, and, even now, the séances had been cheap at the price, and in spite of this discovery, she felt by no means sure that she would not ask the Princess to come again and minister to their spiritual needs.
She had hardly got downstairs when Robert came in from the green, where he had been recounting the experiences of the last séance.
"Looked as if there was a chimney on fire," he said. "I wish it was the kitchen chimney. Then perhaps the beef mightn't be so raw as it was yesterday."
Thus is comedy intertwined with tragedy!
Chapter Fourteen
Georgie was very busily engaged during the first weeks of December on a watercolour sketch of Olga sitting at her piano and singing. The difficulty of it was such that at times he almost despaired of accomplishing it, for the problem of how to draw her face and her mouth wide open and yet retain the likeness seemed almost insoluble. Often he sat in front of his own looking-glass with his mouth open, and diligently drew his own face, in order to arrive at the principles of the changes of line which took place. Certainly the shape of a person's face, when his mouth was wide open, altered so completely that you would have thought him quite unrecognisable, however skilfully the artist reproduced his elongated countenance, and yet Georgie could easily recognise that face in the glass as his. Forehead, eyes and cheekbones alone retained their wonted aspect; even the nose seemed to lengthen if you opened your mouth very wide . . . Then how again was he to indicate that she was singing and not yawning, or preparing for a sneeze? His most successful sketch at present looked precisely as if she was yawning, and made Georgie's jaws long to yawn too. Perhaps the shape of the mouth in the two positions was really the same, and it was only the sound that led you to suppose that an open-mouthed person was singing. But perhaps the piano would supply the necessary suggestion; Olga would not sit down at the piano merely to yawn or sneeze, for she could do that anywhere.
Then a brilliant idea struck him: he would introduce a shaded lamp standing on the piano, and then her face would be in red shadow. Naturally this entailed fresh problems with regard to light, but light seemed to present less difficulty than likeness. Besides he could make her dress, and the keys of the piano very like indeed. But when he came to painting again he despaired. There must be red shadow on her face and yellow light on her hands, and on her green dress, and presently the whole thing looked not so much like Olga singing by lamplight, as a lobster-salad spread out in the sunlight. The more he painted, the more vividly did the lettuce leaves and the dressing and the lobster emerge from the paper. So he took away the lamp, and shut Olga's mouth, and there she would be at her piano just going to sing.
These artistic agonies had rewards which more than compensated for them, for regularly now he took his drawing-board and his paintbox across to her house, and sat with her while she practised. There were none of love's lilies low or yawning York now, for she was very busy learning her part in Lucretia, spending a solid two hours at it every morning, and Georgie began to perceive what sort of work it implied to produce the spontaneous ease with which Brünnhilde hailed the sun. More astounding even was the fact that this mere learning of notes was but the preliminary to what she called "real work." And when she had got through the mere mechanical part of it, she would have to study. Then when her practice was over, she would indulgently sit with her head in profile against a dark background, and Georgie would suck one end of his brush and bite the other, and wonder whether he would ever produce anything which he could dare to offer her. By daily poring on her face, he grew not to admire only but to adore its youth and beauty, by daily contact with her he began to see how fresh and how lovely was the mind that illuminated it.
"Georgie, I'm going to scold you," she said one day, as she took up her place against the black panel. "You're a selfish little brute. You think of nothing but your own amusement. Did that ever strike you?"
Georgie gasped with surprise. Here was he spending the whole of every morning trying to do something which would be a worthy Christmas present for her (to say nothing of the hours he had spent with his mouth open in front of his glass, and the cost of the beautiful frame which he had ordered) and yet he was supposed to be only thinking about himself. Of course Olga did not know that the picture was to be hers . . .
"How tarsome you are!" he said. "You're always finding fault with me. Explain."
"Well, you're neglecting your old friends for your new one," she said. "My dear, you should never drop an old friend. For instance, when did you last play duets with Mrs Lucas?"
"Oh, not so very long ago," said Georgie.
"Quite long enough, I am sure. But I don't actually mean sitting down and thumping the piano with her. When did you last think about her and make plans for her and talk baby-language?"
"Who told you I ever did?" asked Georgie.
"Gracious! How can I possibly remember that sort of thing? I should say at a guess that everybody