To unfurnished minds they remain, in spite of every enhancement of art, only a superior kind of wax-works; but to the responsive fancy they may give magic glimpses of the boundary world between fact and imagination. Selden's mind was of this order: he could yield to vision-making influences as completely as a child to the spell of a fairy-tale. Mrs. Bry's TABLEAUX wanted none of the qualities which go to the producing of such illusions, and under Morpeth's organizing hand the pictures succeeded each other with the rhythmic march of some splendid frieze, in which the fugitive curves of living flesh and the wandering light of young eyes have been subdued to plastic harmony without losing the charm of life.
The scenes were taken from old pictures, and the participators had been cleverly fitted with characters suited to their types.
No one, for instance, could have made a more typical Goya than Carry Fisher, with her short dark-skinned face, the exaggerated glow of her eyes, the provocation of her frankly-painted smile. Abrilliant Miss Smedden from Brooklyn showed to perfection the sumptuous curves of Titian's Daughter, lifting her gold salver laden with grapes above the harmonizing gold of rippled hair and rich brocade, and a young Mrs. Van Alstyne, who showed the frailer Dutch type, with high blue-veined forehead and pale eyes and lashes, made a characteristic Vandyck, in black satin, against a curtained archway. Then there were Kauffmann nymphs garlanding the altar of Love; a Veronese supper, all sheeny textures, pearl-woven heads and marble architecture; and a Watteau group of lute-playing comedians, lounging by a fountain in a sunlit glade.
Each evanescent picture touched the vision-building faculty in Selden, leading him so far down the vistas of fancy that even Gerty Farish's running commentary--"Oh, how lovely Lulu Melson looks!" or: "That must be Kate Corby, to the right there, in purple"--did not break the spell of the illusion. Indeed, so skilfully had the personality of the actors been subdued to the scenes they figured in that even the least imaginative of the audience must have felt a thrill of contrast when the curtain suddenly parted on a picture which was simply and undisguisedly the portrait of Miss Bart.
Here there could be no mistaking the predominance of personality--the unanimous "Oh!" of the spectators was a tribute, not to the brush-work of Reynolds's "Mrs. Lloyd" but to the flesh and blood loveliness of Lily Bart. She had shown her artistic intelligence in selecting a type so like her own that she could embody the person represented without ceasing to be herself. It was as though she had stepped, not out of, but into, Reynolds's canvas, banishing the phantom of his dead beauty by the beams of her living grace. The impulse to show herself in a splendid setting--she had thought for a moment of representing Tiepolo's Cleopatra--had yielded to the truer instinct of trusting to her unassisted beauty, and she had purposely chosen a picture without distracting accessories of dress or surroundings.
Her pale draperies, and the background of foliage against which she stood, served only to relieve the long dryad-like curves that swept upward from her poised foot to her lifted arm. The noble buoyancy of her attitude, its suggestion of soaring grace, revealed the touch of poetry in her beauty that Selden always felt in her presence, yet lost the sense of when he was not with her. Its expression was now so vivid that for the first time he seemed to see before him the real Lily Bart, divested of the trivialities of her little world, and catching for a moment a note of that eternal harmony of which her beauty was a part.
"Deuced bold thing to show herself in that get-up; but, gad, there isn't a break in the lines anywhere, and I suppose she wanted us to know it!"These words, uttered by that experienced connoisseur, Mr. Ned Van Alstyne, whose scented white moustache had brushed Selden's shoulder whenever the parting of the curtains presented any exceptional opportunity for the study of the female outline, affected their hearer in an unexpected way. It was not the first time that Selden had heard Lily's beauty lightly remarked on, and hitherto the tone of the comments had imperceptibly coloured his view of her. But now it woke only a motion of indignant contempt.
This was the world she lived in, these were the standards by which she was fated to be measured! Does one go to Caliban for a judgment on Miranda?
In the long moment before the curtain fell, he had time to feel the whole tragedy of her life. It was as though her beauty, thus detached from all that cheapened and vulgarized it, had held out suppliant hands to him from the world in which he and she had once met for a moment, and where he felt an overmastering longing to be with her again.
He was roused by the pressure of ecstatic fingers. "Wasn't she too beautiful, Lawrence? Don't you like her best in that simple dress?
It makes her look like the real Lily--the Lily I know."He met Gerty Farish's brimming gaze. "The Lily we know," he corrected; and his cousin, beaming at the implied understanding, exclaimed joyfully: "I'll tell her that! She always says you dislike her."The performance over, Selden's first impulse was to seek Miss Bart. During the interlude of music which succeeded the TABLEAUX, the actors had seated themselves here and there in the audience, diversifying its conventional appearance by the varied picturesqueness of their dress. Lily, however, was not among them, and her absence served to protract the effect she had produced on Selden: it would have broken the spell to see her too soon in the surroundings from which accident had so happily detached her. They had not met since the day of the Van Osburgh wedding, and on his side the avoidance had been intentional.
