A Cathedral Singer

The best in them had gone into the painting of this portrait, and the consciousness of our best gives us the sense of our power, and the consciousness of our power yields us our enthusiasm; hence the exhilaration and energy of the studio scene.

The interest of the members of the class was not concerned solely with the portrait, however: a larger share went to the model herself. They had become strongly bound to her. All the more perhaps because she held them firmly to the understanding that her life touched theirs only at the point of the stranger in need of a small sum of money. Repulsed and baffled in their wish to know her better, they nevertheless became aware that she was undergoing a wonderful transformation on her own account. The change had begun after the ordeal of the first morning. When she returned for the second sitting, and then at later sittings, they had remarked this change, and had spoken of it to one another—that she was as a person into whose life some joyous, unbelievable event has fallen, brightening the present and the future. Every day some old cloudy care seemed to loose itself from its lurking-place and drift away from her mind, leaving her face less obscured and thus the more beautifully revealed to them. Now, with the end of the sit tings not far off, what they looked forward to with most regret was the last sitting, when she, leaving her portrait in their hands, would herself vanish, taking with her both the mystery of her old sorrows and the mystery of this new happiness.

Promptly at nine o'clock the teacher of the class entered, greeted them, and glanced around for the model. Not seeing her, he looked at his watch, then without comment crossed to the easels, and studied again the progress made the previous day, correcting, approving, guiding, encouraging. His demeanor showed that he entered into the mounting enthusiasm of his class for this particular piece of work.

A few minutes were thus quickly consumed. Then, watch in hand once more, he spoke of the absence of the model:

"Something seems to detain the model this morning. But she has sent me no word and she will no doubt be here in a few minutes."

He went back to the other end of the studio and sat down, facing them with the impressiveness which belonged to him even without speech. They fixed their eyes on him with the usual expectancy. Whenever as now an unforeseen delay occurred, he was always prompt to take advantage of the interval with a brief talk. To them there were never enough of these brief talks, which invariably drew human life into relationship to the art of portraiture, and set the one reality over against the other reality—the turbulence of a human life and the still image of it on the canvas. They hoped he would thus talk to them now; in truth he had the air of casting about in his mind for a theme best suited to the moment.

That mother, now absent, when she had blindly found her way to him, asking to pose, had fallen into good hands. He was a great teacher and he was a remarkable man, remarkable even to look at. Massively built, with a big head of black hair, olive complexion, and bluntly pointed, black beard, and with a mold of countenance grave and strong, he looked like a great Rembrandt; like some splendid full-length portrait by Rembrandt painted as that master painted men in the prime of his power. With the Rembrandt shadows on him even in life. Even when the sun beat down upon him outdoors, even when you met him in the blaze of the city streets, he seemed not to have emerged from shadow, to bear on him self the traces of a human night, a living darkness. There was light within him but it did not irradiate him.

Once he had been a headlong art student himself, starting out to become a great painter, a great one. After years abroad under the foremost masters and other years of self-trial with every favorable circumstance his, nature had one day pointed her unswerved finger at his latest canvas as at the earlier ones and had judged him to the quick: you will never be a great painter. If you cannot be content to remain less, quit, stop!

Thus youth's choice and a man's half a lifetime of effort and ambition ended in abandonment of effort not because he was a failure but because the choice of a profession had been a blunder. A multitude of men topple into this chasm and crawl out nobody. Few of them at middle age in the darkness of that pit of failure can grope within themselves for some second candle and by it once more become illumined through and through. He found his second candle,—it should have been his first,—and he lighted it and it became the light of his later years; but it did not illumine him completely, it never dispelled the shadows of the flame that had burned out. What he did was this: having reached the end of his own career as a painter, he turned and made his way back to the fields of youth, and taking his stand by that ever fresh path, always, as students would rashly pass him, he halted them like a wise monitor, describing the best way to travel, warning of the difficulties of the country ahead, but insisting that the goal was worth the toil and the trouble; searching secretly among his pupils year after year for signs of what he was not, a great painter, and pouring out his sympathies on all those who, like himself, would never be one.

Now he sat looking across at his class, the masterful teacher of them. They sat looking responsively at him. Then he took up his favorite theme:

"Your work on this portrait is your best work, because the model, as I stated to you at the outset would be the case, has called forth your finer selves; she has caused you to feel. And she has been able to do this because her countenance, her whole being, radiates one of the great passions and faiths of our common humanity—the look of reverent motherhood. You recognize that look, that mood; you believe in it; you honor it; you have worked over its living eloquence. Observe, then, the result. Turn to your canvases and see how, though proceeding differently, you have all dipped your brushes as in a common medium; how you have all drawn an identical line around that old-time human landmark. You have in truth copied from her one of the great beacon-lights of expression that has been burning and signaling through ages upon ages of human history—the look of the mother, the angel of self-sacrifice to the earth.

"While we wait, we might go a little way into this general matter, since you, in the study of portraiture, will always have to deal with it. This look of hers, which you have caught on your canvases, and all the other great beacon-lights of human expression, stand of course for the inner energies of our lives, the leading forces of our characters. But, as ages pass, human life changes; its chief elements shift their relative places, some forcing their way to the front, others being pushed to the rear; and the prominent beacon-lights change correspondingly. Ancient ones go out, new ones appear; and the art of portraiture, which is the undying historian of the human countenance, is subject to this shifting law of the birth and death of its material.

"Perhaps more ancient lights have died out of human faces than modern lights have been kindled to replace them. Do you understand why? The reason is this: throughout an immeasurable time the aim of nature was to make the human countenance as complete an instrument of expression as it could possibly be. Man, except for his gestures and wordless sounds, for ages had nothing else with which to speak; he must speak with his face. And thus the primitive face became the chronicle of what was going on within him as well as of what had taken place without. It was his earliest bulletin-board of intelligence. It was the first parchment to bear tidings; it was the original newspaper; it was the rude, but vivid, primeval book of the woods. The human face was all that. Ages more had to pass before spoken language began, and still other ages before written language began. Thus for an immeasurable time nature developed the face and multiplied its expressions to enable man to make himself understood. At last this development was checked; what we may call the natural occupation of the face culminated. Civilization began, and as soon as civilization began, the decline in natural expressiveness began with it. Gradually civilization supplanted primeval needs; it contrived other means for doing what the face alone had done frankly, marvelously. When you can print news on paper, you may cease to print news on the living countenance. Moreover, the aim of civilization is to develop in us the consciousness not to express, but to suppress. Its aim is not to reveal, but to conceal, thought and emotion; not to make the countenance a beacon-light, but a muffler of the inner candle, whatever that candle for the time may be. All our ruling passions, good or bad, noble or ignoble, we now try publicly to hide. This is civilization. And thus the face, having started out expressionless in nature, tends through civilization to become expressionless again.

"How few faces does any one of us know that frankly radiate the great passions and moods of human nature! What little is left of this ancient tremendous drama is the poor pantomime of the stage. Search crowds, search the streets. See everywhere masked faces, telling as little as possible to those around them of what they glory in or what they suffer. Search modern portrait galleries. Do you find portraits of either men or women who radiate the overwhelming passions, the vital moods, of our galled and soaring nature? It is not a long time since the Middle Ages. In the stretch of history centuries shrink to nothing, and the Middle Ages are as the earlier hours of our own historic day. But has there not been a change even within that short time? Did not the medieval portrait-painters portray in their sitters great moods as no painter portrays them now? How many painters of to-day can find great moods in the faces of their sitters?

"And so I come again to your model. What makes her so remarkable, so significant, so touching, so exquisite, so human, is the fact that her face seems almost a survival out of a past in which the beacon-lights of humanity did more openly appear on the features. In her case one beacon-light most of all,—the greatest that has ever shone on the faces of women,—the one which seems to be slowly vanishing from the faces of modern women—the look of the mother: that transfiguration of the countenance of the mother who believed that the birth of a child was the divine event in her existence, and the emotions and energies of whose life centered about her offspring. How often does any living painter have his chance to paint that look now! Galleries are well filled with portraits of contemporary women who have borne children: how often among these is to be found the portrait of the mother of old?"

He rose. The talk was ended. He looked again at his watch, and said:

"It does not seem worth while to wait longer. Evidently your model has been kept away to-day. Let us hope that no ill has befallen her and that she will be here to-morrow. If she is here, we shall go on with the portrait. If she should not be here, I shall have another model ready, and we shall take up another study until she returns. Bring fresh canvases."

He left the room. They lingered; looking again at their canvases, understanding their own work as they had not hitherto and more strongly than ever drawn toward their model whom that day they missed. Slowly and with disappointment and with many conjectures as to why she had not come, they separated.

V

It was Sunday. All round St. Luke's Hospital quiet reigned. The day was very still up there on the heights under the blue curtain of the sky.

When he had been hurled against the curb on the dark street, had been rolled over and tossed there and left there with no outcry, no movement, as limp and senseless as a mangled weed, the careless crowd which somewhere in the city every day gathers about such scenes quickly gathered about him. In this throng was the physician whose car stood near by; and he, used to sights of suffering but touched by that tragedy of unconscious child and half-crazed mother, had hurried them in his own car to St. Luke's—to St. Luke's, which is always open, always ready, and always free to those who lack means.

Just before they stopped at the entrance she had pleaded in the doctor's ear for a luxury.

"To the private ward," he said to those who lifted the lad to the stretcher, speaking as though in response to her entreaty.

"One of the best rooms," he said before the operation, speaking as though he shouldered the responsibility of the further expense. "And a room for her near by," he added. "Everything for them! Everything!"

So there he was now, the lad, or what there was left of him, this quiet Sunday, in a pleasant room opposite the cathedral. The air was like early summer. The windows were open. He lay on his back, not seeing anything. The skin of his forehead had been torn off; there was a bandage over his eyes. And there were bruises on his body and bruises on his face, which was horribly disfigured. The lips were swollen two or three thicknesses; it was agony for him to speak. When he realized what had happened, after the operation, his first mumbled words to her were:

"They will never have me now."

About the middle of the forenoon of this still Sunday morning, when the doctor left, she followed him into the hall as usual, and questioned him as usual with her eyes. He encouraged her and encouraged himself:

"I believe he is going to get well. He has the will to get well, he has the bravery to get well. He is brave about it; he is as brave as he can be."

"Of course he is brave," she said scornfully. "Of course he is brave."

"The love of such a mother would call him back to life," he added, and he laid one of his hands on her head for a moment.

"Don't do that," she said, as though the least tenderness toward herself at such a moment would unnerve her, melt away all her fortitude.

Everybody had said he was brave, the head nurse, the day nurse, the night nurse, the woman who brought in the meals, the woman who scrubbed the floor. All this had kept her up. If anybody paid any kind of tribute to him, realized in any way what he was, this was life to her.

After the doctor left, as the nurse was with him, she walked up and down the halls, too restless to be quiet.

At the end of one hall she could look down on the fragrant leafy park. Yes, summer was nigh. Where a little while before had been only white blossoms, there were fewer white now, more pink, some red, many to match the yellow of the sun. The whole hillside of swaying; boughs seemed to quiver with happiness. Her eyes wandered farther down to the row of houses at the foot of the park. She could see the dreadful spot on the street, the horrible spot. She could see her shattered window-panes up above. The points of broken glass still seemed to slit the flesh of her hands within their bandages.

She shrank back and walked to the end of the transverse hall. Across the road was the cathedral. The morning service was just over. People were pouring out through the temporary side doors and the temporary front doors so placidly, so contentedly! Some were evidently strangers; as they reached the outside they turned and studied the cathedral curiously as those who had never before seen it. Others turned and looked at it familiarly, with pride in its unfolding form. Some stopped and looked down at the young grass, stroking it with the toes of their fine shoes; they were saying how fresh and green it was. Some looked up at the sky; they were saying how blue it was. Some looked at one another keenly; they were discussing some agreeable matter, being happy to get back to it now after the service. Not one of them looked across at the hospital. Not a soul of them seemed to be even aware of its existence. Not a soul of them!

Particularly her eyes became riveted upon two middle-aged ladies in black who came out through a side door of the cathedral—slow-paced women, bereft, full of pity. As they crossed the yard, a gray squirrel came jumping along in front of them on its way to the park. One stooped and coaxed it and tried to pet it: it became a vital matter with both of them to pour out upon the little creature which had no need of it their pent-up, ungratified affection. With not a glance to the window where she stood, with her mortal need of them, her need of all mothers, of everybody—her mortal need of everybody! Why were they not there at his bedside? Why had they not heard? Why had not all of them heard? Why had anything else been talked of that day? Why were they not all massed around the hospital doors, tearful with their sympathies? How could they hold services in the cathedral—the usual services? Why was it not crowded to the doors with the clergy of all faiths and the lay men of every land, lifting one outcry against such destruction? Why did they not stop building temples to God, to the God of life, to the God who gave little children, until they had stopped the massacre of children, His children in the streets!

Yes; everybody had been kind. Even his little rivals who had fought with him over the sale of papers had given up some of their pennies and had bought flowers for him, and one of them had brought their gift to the main hospital entrance. Every day a shy group of them had gathered on the street while one came to inquire how he was. Kindness had rained on her; there was that in the sight of her that unsealed kindness in every heart.

She had been too nearly crazed to think of this. Her bitterness and anguish broke through the near cordon of sympathy and went out against the whole brutal and careless world that did not care—to legislatures that did not care, to magistrates that did not care, to juries that did not care, to officials that did not care, to drivers that did not care, to the whole city that did not care about the massacre in the streets.

Through the doors of the cathedral the people streamed out unconcerned. Beneath her, along the street, young couples passed, flushed with their climb of the park hillside, and flushed with young love, young health. Sometimes they held each other's hands; they innocently mocked her agony with their careless joy.

One last figure issued from the side door of the cathedral hurriedly and looked eagerly across at the hospital—looked straight at her, at the window, and came straight toward the entrance below—the choir-master. She had not sent word to him or to any one about the accident; but he, when his new pupil had failed to report as promised, had come down to find out why. And he, like all the others, had been kind; and he was coming now to inquire what he could do in a case where nothing could be done. She knew only too well that nothing could be done.

The bright serene hours of the day passed one by one with nature's carelessness about the human tragedy. It was afternoon and near the hour for the choral even-song across the way at the cathedral, the temporary windows of which were open.

She had relieved the nurse, and was alone with him. Often during these days he had put out one of his hands and groped about with it to touch her, turning his head a little toward her under his bandaged eyes, and apparently feeling much mystified about her, but saying nothing. She kept her bandaged hands out of his reach but leaned over him in response and talked ever to him, barely stroking him with the tips of her stiffened fingers.

The afternoon was so quiet that by and by through the opened windows a deep note sent a thrill into the room—the awakened soul of the organ. And as the two listened to it in silence, soon there floated over to them the voices of the choir as the line moved slowly down the aisle, the blended voices of the chosen band, his school-fellows of the altar. By the bedside she suddenly rocked to and fro, and then she bent over and said with a smile in her tone:

"Do you hear? Do you hear them?"

He made a motion with his lips to speak but they hurt him too much. So he nodded: that he heard them.

A moment later he tugged at the bandage over his eyes.

She sprang toward him:

"O my precious one, you must not tear the bandage off your eyes!"

"I want to see you!" he mumbled. "It has been so long since I saw you! What's the matter with you? Where are your hands? Why don't you put your arms around me?"

VI

The class had been engaged with another model. Their work was forced and listless. As days passed without the mother's return, their thought and their talk concerned itself more and more with her disappearance. Why had she not come back? What had befallen her? What did it all mean? Would they ever know?

One day after their luncheon-hour, as they were about to resume work, the teacher of the class entered. He looked shocked; his look shocked them; instant sympathy ran through them. He spoke with difficulty:

"She has come back. She is down-stairs. Something had befallen her in deed. She told me as briefly as possible and I tell you all I know. Her son, a little fellow who had just been chosen for the cathedral choir school was run over in the street. A mention of it—the usual story—was in the papers, but who of us reads such things in the papers? They bore us; they are not even news. He was taken to St. Luke's, and she has been at St. Luke's, and the end came at St. Luke's, and all the time we have been here a few yards distant and have known nothing of it. Such is New York! It was to help pay for his education in music that she first came to us, she said. And it was the news that he had been chosen for the choir school that accounts for the new happiness which we saw brighten her day by day. Now she comes again for the same small wage, but with other need, no doubt: the expenses of it all, a rose-bush for his breast. She told me this calmly as though it caused her no grief. It was not my privilege, it is not our privilege, to share her unutterable bereavement.

"She has asked to go on with the sittings. I have told her to come to-morrow. But she does not realize all that this involves with the portrait. You will have to bring new canvases, it will have to be a new work. She is in mourning. Her hands will have to be left out, she has hurt them; they are bandaged. The new portrait will be of the head and face only. But the chief reason is the change of expression. The light which was in her face and which you have partly caught upon your canvases, has died out; it was brutally put out. The old look is gone. It is gone, and will never come back—the tender, brooding, reverent happiness and peace of motherhood with the child at her knee—that great earthly beacon-light in women of ages past. It was brutally put out but it did not leave blankness behind it. There has come in its place another light, another ancient beacon-light on the faces of women of old—the look of faith in immortal things. She is not now the mother with the tenderness of this earth but the mother with the expectation of eternity. Her eyes have followed him who has left her arms and gone into a distance. Ever she follows him into that distance. Your portrait, if you can paint it, will be the mother with the look of immortal things in her face."

When she entered the room next morning, at the sight of her in mourning and so changed in every way, with one impulse they all rose to her. She took no notice,—perhaps it would have been unendurable to notice,—but she stepped forward as usual, and climbed to the platform without faltering, and he posed her for the head and shoulders. Then, to study the effect from different angles, he went behind the easels, passing from one to another. As he returned, with the thought of giving her pleasure, he brought along with him one of the sketches of herself and held it out before her.

"Do you recognize it?" he asked.

She refused to look at first. Then arousing herself from her indifference she glanced at it. But when she beheld there what she had never seen—how great had been her love of him; when she beheld there the light now gone out and realized that it meant the end of happy days with him, she shut her eyes quickly and jerked her head to one side with a motion for him to take the picture away. But she had been brought too close to her sorrow and suddenly she bent over her hands like a snapped reed and the storm of her grief came upon her.