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The Golden Butterfly
When he was twenty-five, and became a partner, the brethren returned to England simultaneously, and were good enough to live with him and upon him. They had their £200 a year each, and expensive tastes. Joseph, who had made a thousand for his share the first year of his admission to the firm, had no expensive tastes, and a profound respect for genius. He took in the twins joyfully, and they stayed with him. When his senior partner died, and Mr. Fairlight retired, so that Joseph's income was largely increased, they made him move from Torrington Square, where the houses are small, to Carnarvon Square, and regulated his household for him on the broadest and most liberal scale. Needless to say, no part of the little income, which barely served the twins with pocket-money and their menus plaisirs, went towards the housekeeping. Cornelius, poet and philosopher, superintended the dinner and daily interviewed the cook. Humphrey, the devotee of art, who furnished the rooms according to the latest designs of the most correct taste, was in command of the cellar. Cornelius took the best sitting-room for himself, provided it with books, easy-chairs, and an immense study-table with countless drawers. He called it carelessly his Workshop. The room on the first floor overlooking Mulgrave Street, and consequently with a north aspect, was appropriated by Humphrey. He called it his Studio, and furnished it in character, not forgetting the easy-chairs. Joseph had the back room behind the dining-room for himself; it was not called a study or a library, but Mr. Joseph's room. He sat in it alone every evening, at work. There was also a drawing-room, but it was never used. They dined together at half-past six: Cornelius sat at the head, and Humphrey at the foot, Joseph at one side. Art and Intellect, thus happily met together and housed under one roof, talked to each other. Joseph ate his dinner in silence. Art held his glass to the light, and flashed into enthusiasm over the matchless sparkle, the divine hues, the incomparable radiance, of the wine. Intellect, with a sigh, as one who regrets the loss of a sense, congratulated his brother on his vivid passion for colour, and, taking another glass, discoursed on the æsthetic aspects of a vintage wine. Joseph drank one glass of claret, after which he retired to his den, and left the brethren to finish the bottle. After dinner the twins sometimes went to the theatre, or they repaired arm-in-arm to their club – the Renaissance, now past its prime and a little fogyish; mostly they sat in the Studio or in the Workshop, in two arm-chairs, with a table between them, smoked pipes, and drank brandy and potash-water. They went to bed at any time they felt sleepy – perhaps at twelve, and perhaps at three. Joseph went to bed at half-past ten. The brethren generally breakfasted at eleven, Joseph at eight. After breakfast, unless on rainy days, a uniform custom was observed. Cornelius, poet and philosopher, went to the window and looked out.
Humphrey, artist, and therefore a man of intuitive sympathies, followed him. Then he patted Cornelius on the shoulder, and shook his head.
"Brother, I know your thought. You want to drag me from my work; you think it has been too much for me lately. You are too anxious about me."
Cornelius smiled.
"Not on my own account too, Humphrey?"
"True – on your account. Let us go out at once, brother. Ah, why did you choose so vast a subject?"
Cornelius was engaged – had been engaged for twenty years – upon an epic poem, entitled the Upheaving of Ælfred. The school he belonged to would not, of course, demean themselves by speaking of Alfred. To them Edward was Eadward, Edgar was Eadgar, and old Canute was Knut. In the same way Cicero became Kikero, Virgil was Vergil, and Socrates was spelt, as by the illiterate bargee, with a k. So the French prigs of the ante-Boileau period sought to make their trumpery pedantries pass for current coin. So, too, Chapelain was in labour with the Pucelle for thirty years; and when it came – But Cornelius Jagenal could not be compared with Chapelain, because he had as yet brought forth nothing. He sat with what he and his called "English" books all round him; in other words, he had all the Anglo-Saxon literature on his shelves, and was amassing, as he said, material.
Humphrey, on the other hand, was engaged on a painting, the composition of which offered difficulties which, for nearly twenty years, had proved insuperable. He was painting, he said, the "Birth of the Renaissance." It was a subject which required a great outlay in properties, Venetian glass, Italian jewelry, mediæval furniture, copies of paintings – everything necessary to make this work a masterpiece – he bought at Joseph's expense. Up to the present no one had been allowed to see the first rough drawings.
"Where's Cæsar?" Humphrey would say, leading the way to the hall. "Cæsar! Why, here he is. Cæsar must actually have heard us proposing to go out."
Cornelius called the dog Kaysar, and he refused to answer to it; so that conversation between him and Cornelius was impossible.
There never was a pair more attached to each other than these twin brethren. They sallied forth each morning at twelve, arm-in-arm, with an open and undisguised admiration for each other which was touching. Before them marched Cæsar, who was of mastiff breed, leading the way. Cornelius, the poet, was dressed with as much care as if he were still a young man of five-and-twenty, in a semi-youthful and wholly-æsthetic costume, in which only the general air, and not the colour, revealed the man of delicate perceptions. Humphrey, the artist, greatly daring, affected a warm brown velvet with a crimson-purple ribbon. Both carried flowers. Cornelius had gloves; Humphrey a cigar. Cornelius was smooth-faced, save for a light fringe on the upper lip. Humphrey wore a heavy moustache and a full long silky beard of a delicately-shaded brown, inclining when the sun shone upon it to a suspicion of auburn. Both were of the same height, rather below the middle; they had features so much alike that, but for the hair on the face of one, it would have been difficult to distinguish between them. Both were thin, pale of face, and both had, by some fatality, the end of their delicately-carved noses slightly tipped with red. Perhaps this was due to the daily and nightly brandy-and-water. And in the airy careless carriage of the two men, their sunny faces and elastic tread, it was impossible to suppose that they were fifty and Joseph only forty.
To be sure, Joseph was a heavy man, stout of build, broad in frame, sturdy in the under-jaw; while his brothers were slight shadowy men. And, to be sure, Joseph had worked all his life, while his brothers never did a stroke. They were born to consume the fruits which Joseph was born to cultivate.
Outside the house the poet heaved a heavy sigh, as if the weight of the epic was for the moment off his mind. The artist looked round with a critical eye on the lights and shadows of the great commonplace square.
"Even in London," he murmured, "Nature is too strong for man. Did you ever, my dear Cornelius, catch a more brilliant effect of sunshine than that upon the lilac yonder?"
Time, end of April; season forward, lilacs on the point of bursting into flower; sky dotted with swift-flying clouds, alternate withdrawals and bursts of sunshine.
"I really must," said Humphrey, "try to fix that effect."
His brother took the arm of the artist and drew him gently away.
In front marched Cæsar.
Presently the poet looked round. They were out of the square by this time.
"Where is Kaysar?" he said, with an air of surprise. "Surely, brother Humphrey, the dog can't be in the Carnarvon Arms?"
"I'll go and see," said Humphrey, with alacrity.
He entered the bar of the tavern, and his brother waited outside. After two or three minutes, the poet, as if tired of waiting, followed the artist into the bar. He found him with a glass of brandy-and-water cold.
"I had," he explained, "a feeling of faintness. Perhaps this spring air is chilly. One cannot be too careful."
"Quite right," said the poet. "I almost think – yes, I really do feel – ah! Thank you, my dear."
The girl, as if anticipating his wants, set before him a "four" of brandy and the cold water. Perhaps she had seen the face before. As for the dog, he was lying down with his head on his paws. Perhaps he knew there would be no immediate necessity for moving.
They walked in the direction of the Park, arm-in-arm, affectionately.
It might have been a quarter of an hour after leaving the Carnarvon Arms when the poet stopped and gasped —
"Humphrey, my dear brother, advise me. What would you do if you had a sharp and sudden pain like a knife inside you?"
Humphrey replied promptly:
"If I had a sharp and sudden pain like a knife inside me, I should take a small glass of brandy neat. Mind, no spoiling the effect with water."
Cornelius looked at his brother with admiration.
"Such readiness of resource!" he murmured, pressing his arm.
"I think I see – ah, yes – Kaysar – he's gone in before us. The sagacity of that dog is more remarkable than anything I ever read." He took his small glass of brandy neat.
The artist, looking on, said he might as well have one at the same time. Not, he added, that he felt any immediate want of the stimulant, but he might; and at all times prevention is better than cure.
It was two o'clock when they returned to Carnarvon Square. They walked arm-in-arm, with perhaps even a greater show of confiding affection than had appeared at starting. There was the slightest possible lurch in their walk, and both looked solemn and heavy with thought.
In the hall the artist looked at his watch.
"Pa – pasht two. Corneliush, Work – "
He marched to the Studio with a resolute air, and, arrived there, drew an easy-chair before the fire, sat himself in it, and went fast asleep.
The poet sought the workshop. On the table lay the portfolio of papers, outside which was emblazoned on parchment, with dainty scroll-work by the hands of his brother the artist, the title of his poem:
He gazed at it fondly for a few minutes; vaguely took up a pen, as if he intended to finish the work on the spot; and then with a sigh, thought being to much for brain, he slipped into his arm-chair, put up his feet, and was asleep in two minutes. At half-past five, one of the maids – they kept no footman in Carnarvon Square – brought him tea.
"I have been dozing, have I, Jane?" he asked. "Very singular thing for me to do."
We are but the creatures of habit. The brethren took the same walk every day, made the same remarks, with an occasional variation, and took the same morning drams; they spent the middle of the day in sleep, they woke up for the afternoon tea, and they never failed to call Jane's attention to the singularity of the fact that they had been asleep. This day Jane lingered instead of going away when the tea was finished.
"Did master tell you, sir," she asked, "that Miss Fleming was coming to-day?"
It was an irritating thing that, although Cornelius ordered the dinner and sat at the head of the table, although Humphrey was in sole command of the wine-cellar, the servants always called Joseph the master. Great is the authority of him who keeps the bag; the power of the penniless twins was a shadowy and visionary thing.
The master had told his brothers that Miss Fleming would probably have to come to the house, but no date was fixed.
"Miss Fleming came this afternoon, sir," said Jane, "with a French maid. She's in Mr. Joseph's room now."
"Oh, tell Mr. Humphrey, Jane, and we will dress for dinner. Tell Mr. Humphrey, also, that perhaps Miss Fleming would like a glass of champagne to-day."
Jane told the artist.
"Always thoughtful," said Humphrey, with enthusiasm. "Cornelius is for ever thinking of others' comfort. To be sure Miss Fleming shall have a glass of champagne."
He brought up two bottles, such was his anxiety to give full expression to his brother's wishes.
When the dinner-bell rang, the brethren emerged simultaneously from their rooms, and descended the stairs together, arm-in-arm. Perhaps in expectation of dinner, perhaps in anticipation of the champagne, perhaps with pleasure at the prospect of meeting with Joseph's ward, the faces of both were lit with a sunny smile, and their eyes with a radiant light, which looked like the real and genuine enthusiasm of humanity. It was a pity that Humphrey wore a beard, or that Cornelius did not; otherwise it would have been difficult to distinguish between this pair so much alike – these youthful twins of fifty, who almost looked like five-and-twenty.
CHAPTER II
"Phillis is my only joy."
"My brothers, Miss Fleming!"
Joseph introduced the twins with a pride impossible to dissemble. They were so youthful-looking, so airy, so handsome, besides being so nobly endowed with genius, that his pride may be excused. Castor and Pollux the wrong side of forty, but slim still and well preserved – these Greek figures do not run tall – might have looked like Cornelius and Humphrey.
They parted company for a moment to welcome the young lady, large-eyed as Hêrê, who rose to greet them, and then took up a position on the hearthrug, one with his hand on the other's shoulder, like the Siamese twins, and smiled pleasantly, as if, being accustomed to admiration and even awe, they wished to reassure Miss Fleming and put her at ease.
Dinner being announced, Cornelius, the elder by a few moments, gave his arm to the young lady. Humphrey, the younger, hovered close behind, as if he too was taking his part in the chivalrous act. Joseph followed alone, of course, not counting in the little procession.
Phillis Fleming's arrival at No. 15 Carnarvon Square was in a manner legal. She belonged to the office, not to the shrine of intellect, poesy, and art created by the twin brethren. She was an orphan and a ward. She had two guardians: one of them, Mr. Lawrence Colquhoun, being away from England; and the other, Mr. Abraham Dyson, with whom she had lived since her sixth birthday, having finished his earthly career just before this history begins, that is to say, in the spring of last year. Shaw, Fairlight, and Jagenal were solicitors to both gentlemen. Therefore Joseph found himself obliged to act for this young lady when, Mr. Abraham Dyson buried and done with, it became a question what was to be done with her. There were offers from several disinterested persons on Miss Fleming's bereaved condition being known. Miss Skimpit, of the Highgate Collegiate Establishment for Young Ladies, proposed by letter to receive her as a parlour-boarder, and hinted at the advantages of a year's discipline, tempered by Christian kindness, for a young lady educated in so extraordinary and godless a manner. The clergyman of the new district church at Finchley called personally upon Mr. Jagenal. He said that he did not know the young lady except by name, but that, feeling the dreadful condition of a girl brought up without any of the gracious influences of Anglican Ritual and Dogma, he was impelled to offer her a home with his Sisterhood. Here she would receive clear dogmatic teaching and learn what the Church meant by submission, fasting, penance, and humiliation. Mr. Jagenal thought she might also learn how to bestow her fortune on Anglo Catholic objects when she came of age, and dismissed his reverence with scant courtesy. Two or three widows who had known better days offered their services, which were declined with thanks. Joseph even refused to let Miss Fleming stay with Mrs. Cassilis, the wife of Abraham Dyson's second cousin. He thought that perhaps this lady would not be unwilling to enliven her house by the attraction of an heiress and a débutante. And it occurred to him that, for a short time at least, she might, without offending a censorious world, and until her remaining guardian's wishes could be learned, take up her abode at the house of the three bachelors.
"I am old, Miss Fleming," he said, "Forty years old; a great age to you, and my brothers, Cornelius and Humphrey, who live with me, are older still. Cornelius is a great poet; he is engaged on a work —The Upheaving of Ælfred– which will immortalise his name. Humphrey is an artist; he is working at a group the mere conception of which, Cornelius says, would make even the brain of Michel Angelo stagger. You will be proud, I think, in after years, to have made the acquaintance of my brothers."
She came, having no choice or any other wish, accompanied by her French maid and the usual impedimenta of travel.
Phillis Fleming – her father called her Phillis because she was his only joy – was nineteen. She is twenty now, because the events of this story only happened last year. Her mother died in giving her birth; she had neither brothers nor sisters, nor many cousins, and those far away. When she was six her father died too – not of an interesting consumption or of a broken heart, or any ailment of that kind. He was a jovial fox-hunting ex-captain of cavalry, with a fair income and a carefully cultivated taste for enjoyment. He died from an accident in the field. By his will he left all his money to his one child and appointed as her trustees his father's old friend, Abraham Dyson of Twickenham and the City, and with him his own friend, Lawrence Colquhoun, a man some ten years younger than himself, with tastes and pursuits very much like his own. Of course, the child was taken to the elder guardian's house, and Colquhoun, going his way in the world, never gave his trust or its responsibilities a moment's thought.
Phillis Fleming had the advantage of a training quite different from that which is usually accorded to young ladies. She went to Mr. Abraham Dyson at a time when that old gentlemen, always full of crotchety ideas, was developing a plan of his own for female education. His theory of woman's training having just then grown in his mind to finished proportions, he welcomed the child as a subject sent quite providentially to his hand, and proceeded to put his views into practice upon little Phillis. That he did so showed a healthy belief in his own judgment. Some men would have hastened into print with a mere theory. Mr. Dyson intended to wait for twelve years or so, and to write his work on woman's education when Phillis's example might be the triumphant proof of his own soundness. The education conducted on Mr. Dyson's principles and rigidly carried out was approaching completion when it suddenly came to an abrupt termination. Few things in this world quite turn out as we hope and expect. It was on the cards that Abraham Dyson might die before the proof of his theory. This, in fact, happened; and his chief regret at leaving a world where he had been supremely comfortable, and able to enjoy his glass of port to his eightieth and last year, was that he was leaving the girl, the creation of his theory, in an unfinished state.
"Phillis," he said, on his deathbed, "the edifice is now complete, – all but the Coping-stone. Alas, that I could not live to put it on!"
And what the Coping-stone was no man could guess. Great would be the cleverness of him, who seeing a cathedral finished save for roof and upper courses, would undertake to put on these, with all the ornaments, spires, lanterns, gargoyles, pinnacles, flying buttresses, turrets, belfries, and crosses drawn in the dead designer's lost plans.
Abraham Dyson was a wealthy man. Therefore he was greatly respected by all his relations, in spite of certain eccentricities, notably those which forbade him to ask any of them to his house. If the nephews, nieces and cousins wept bitterly on learning their bereavement, deeper and more bitter were their lamentations when they found that Mr. Dyson had left none of them any money.
Not one penny; not a mourning ring; not a single sign or token of affection to one of them. It was a cruel throwing of cold water on the tenderest affections of the heart, and Mr. Dyson's relations were deeply pained. Some of them swore; others felt that in this case it was needless to give sorrow words, and bore their suffering in silence.
Nor did he leave any money to Phillis.
This obstinate old theorist left it all to found a college for girls, who were to be educated in the same manner as Phillis Fleming, and in accordance with the scheme stated to be fully drawn up and among his papers.
Up to the present, Joseph Jagenal had not succeeded in finding the scheme. There were several rolls of paper, forming portions of the great work, but none were finished, and all pointed to the last chapter, that entitled the "Coping-stone," in which, it was stated, would be found the whole scheme with complete fulness of detail. But this last chapter could not be found anywhere. If it never was found, what would become of the will? Then each one of Mr. Dyson's relations began to calculate what might fall to himself out of the inheritance. That was only natural, and perhaps it was not every one who, like Mr. Gabriel Cassilis, openly lamented the number of Mr. Dyson's collateral heirs.
Not to be found. Joseph Jagenal's clerks now engaged in searching everywhere for it, and all the relations praying – all fervently and some with faith – that it might never turn up.
So that poor Phillis is sitting down to dinner with her education unfinished – where is that Coping-stone? Every young lady who has had a finishing year at Brighton may look down upon her. Perhaps, however, as her education has been of a kind quite unknown in polite circles, and she has never heard of a finishing year, she may be calm even in the presence of other young ladies.
What sort of a girl is she?
To begin with, she has fifty thousand pounds. Not the largest kind of fortune, but still something. More than most girls have, more than the average heiress has. Enough to make young Fortunio Hunter prick up his ears, smooth down his moustache, and begin to inquire about guardians; enough to purchase a roomy cottage where Love may be comfortable; enough to enable the neediest wooer, if he be successful, to hang up his hat on the peg behind the door and sit down for the rest of his years. Fifty thousand pounds is a sum which means possibilities. It was her mother's, and, very luckily for her, it was so tied up that Captain Fleming, her father, could not touch more than the interest, which, at three per cent., amounts, as may be calculated, to fifteen hundred a year. Really, after explaining that a young lady has fifty thousand, what further praise is wanted, what additional description is necessary? By contemplation of fifty thousand pounds, ardent youth is inflamed as by a living likeness of Helen. Be she lovely or be she loathly, be she young or old, be she sweet or shrewish – she has fifty thousand pounds.
With her fifty thousand pounds the gods have given Phillis Fleming a tall figure, the lines of which are as delicately curved as those of any yacht in the Solent or of any statue from Greek studio. She is slight, perhaps too slight; she has hair of a common dark brown, but it is fine hair, there is a great wealth of it, it has a gleam and glimmer of its own as the sunlight falls upon it, as if there were a hidden colour lying somewhere in it waiting to be discovered; her eyes, like her hair, are brown – they are also large and lustrous; her lips are full; her features are not straight and regular, like those of women's beauties, for her chin is perhaps a little short, though square and determined; she has a forehead which is broad and rather low; she wears an expression in which good temper, intelligence, and activity are more marked than beauty. She is quick to mark the things that she sees, and she sees everything. Her hands are curious, because they are so small, so delicate, and so sympathetic; while her face is in repose you may watch a passing emotion by the quivering of her fingers, just as you may catch, if you have the luck, the laughter or tears of most girls first in the brightness or the clouding of their eyes.
There are girls who, when we meet them in the street, pass us like the passing of sunshine on an April day; who, if we spend the evening in a room where they are, make us understand something of the warmth which Nature intended to be universal, but has somehow only made special; whom it is a pleasure to serve, whom it is a duty to reverence, who can bring purity back to the brain of a rake, and make a young man's heart blossom like a rose in June.
