The Girl Philippa. Chambers Robert William

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СКАЧАТЬ now Halkett took the opening salutation in the first paragraph of his letter – "Dear Green." The color green being numbered 4, he found that the fourth letter in the word "dear" was the letter R. This he wrote down on his pad.

      Then he took the next few words: "A red wagon, red seat, orange rumble, red – " etc.

      The first and only letter in the word "A" he wrote down. The next word after "wagon" was "red." The color red indicated the figure 1. So he next wrote down the first letter of the word "wagon," which is W.

      Then came the word "seat." The word "orange" followed it. The color orange indicated number 2 in the spectrum sequence. So he found that in the word "seat" the letter E was the second letter. This he wrote.

      Very carefully and methodically he proceeded in this manner with the first paragraph of the letter, as far as the words "all over," but not including them or any of the words in the first paragraph which followed them.

      He had, therefore, for his first paragraph, this sequence of letters:

      RAWERUSEWEVOM.

      Beginning with the last letter, M, he wrote the letters again, reversing their sequence; and he had:

      MOVEWESUREWAR.

      These, with commas, he easily separated into four words: "Move," "we," "sure," and "war." Then, again reversing the sequence of the words, he had two distinct sentences of two words each before him:

      WAR SURE! WE MOVE!

      Always working with the numbered color key before him, taking his letter paragraph by paragraph, he had as a final remainder the following series of letters:

      EDIHUOYERADELIARTTIAWDROWOTDEECORPSIALAC.

      Reversing these, checking off the separate words, and then reversing the entire sequence of words, he had as the complete translation of his letter, including the first paragraph, the following information and admonition:

      "War sure. We move. Hide. You are trailed. Wait word to proceed Calais."

      "War sure!" That was easily understood. "We move." That meant England was already mobilizing on land and sea. And the remainder became plain enough; he must stay very quietly where he was until further instructions arrived.

      He read through his notes and his letter once more, then twisted letter, envelope, and penciled memoranda into a paper spiral, set fire to it with a match, and leisurely lighted his pipe with it.

      When the flame of the burning paper scorched his fingers, he laid it carefully on the grass, where it was presently consumed. The charred remnants he ground to dust under his heel as he got up and brushed a spear or two of hay from his clothing.

      Then he looked at the Harem, all busily committing felony with brush and colors; and, as he gazed upon them, he politely stifled a yawn.

      CHAPTER VII

      Warner, conscientious but not hopeful, circulated among the easels of the Harem. Halkett strolled at his heels.

      Stopping in front of Alameda Golden's large canvas, which was all splashed with primary and aggressive colors, he gazed, uncomforted, upon what she had wrought there. After a few moments he said very patiently:

      "You should not use a larger canvas than I have recommended to the class. Mere size is not necessarily a synonym for distinction, nor does artistic strength depend upon the muscular application of crude paint. A considerable majority of our countrymen comprehend only what is large, gaudy, and garrulous. Bulk and noise only can command their attention. On the other hand, only what is weak, vague, and incoherent appeals to the precious – the incapables and eccentrics among us. But there is a sane and healthy majority: enroll yourself there, Miss Golden!

      "Be honest, reticent, and modest. If you have anything to say in paint, say it without self-consciousness, frankly, but not aggressively. Behave on canvas as you would bear yourself in the world at large, with freedom but with dignity, with sincerity governed by that intelligent consideration for truth which permits realism and idealism, both of which are founded upon fact."

      Miss Golden pouted:

      "But I see haystacks this way!" she insisted. "I see them in large and brilliant impressions. To me nothing looks like what it is. Haystacks appear this way to my eyes!"

      "My dear child, then paint them that way. But the popular impression will persist that you have painted the battle of Trafalgar."

      Miss Golden wriggled on her camp chair.

      "Everything," she explained, "is one monstrous, gaudy, and brutal impression to me. I see a million colors in everything and very little shape to anything. I see only cosmic vigor; and I paint it with a punch. Can't you see all those colors in those haystacks? To me they resemble gigantic explosions of glorious color. And really, Mr. Warner, if I am to be true to myself, I must paint them as I see them."

      Warner, horribly discouraged, talked sanely to her for a while, then with a pleasant nod he passed to the next easel, remarking to Halkett under his breath:

      "It's a case for a pathologist, not for a painter."

      And so for an hour he prowled about among the Harem, ministering to neurotics, inspiring the sluggish, calming despair, gently discouraging self-complacency.

      "Always," he said, "we must remain students, because there is no such thing as mastery in any art. If ever we believe we have attained mastery, then our progress ceases; and we do not even remain where we are; we retrograde – and swiftly, too.

      "The life work of the so-called 'master' is passed only in solving newer problems. There is no end to the problems, there is an end only to our lives.

      "Look at the matter in that way, not as a race toward an attainable goal, nor as an eternally hopeless effort in a treadmill; but as a sane and sure and intelligent progress from one wonder-chamber to a chamber still more wonderful – locked rooms which contain miracles, and which open only when we find the various keys which fit their locks…

      "That is all for this morning, young ladies."

      He lifted his hat, turned, and strolled away across the meadow, Halkett at his side.

      "Some lecture!" he commented with a faint grin.

      "It's sound," said Halkett.

      "I do the best I can with them. One might suppose I know how to paint, by the way I pitch into those poor girls. Yet, I myself never pick up a brush and face my canvas but terror seizes me, and my own ignorance of all I ought to know scares me almost to death. It's not modesty; I can paint as well as many, better than many. But, oh, the long, long way there is to travel! The stars are very far away, Halkett."

      He pitched his easel, secured a canvas, took a freshly-set palette and brushes from his color-box, and, still standing, went rapidly about his business, which was to sketch in an impression of what lay before him.

      Halkett, watching him over his shoulder, saw the little river begin to glimmer on the canvas, saw a tender golden light grow and spread, bathing distant hills; saw the pale azure of an arching sky faintly tinting with reflections the delicate green of herbage still powdered with the morning dew.

      "This is merely a note," remarked Warner, painting away leisurely but steadily. "Some day I may pose my models somewhere outdoors under similar СКАЧАТЬ