Part 4

Yet, when I first saw the young lady, she was not in blue, if you forget for a moment her forget-me-not eyes. She was in deepest black, and, I have reason to believe, the most expensive and fashionable black to be had in New York. Gigi Arcangelo, my seldom-sinning super-assistant, broke all the rules of the studio when he let her in, that bright May afternoon. Gigi knew perfectly well that after a vexatious sitting from Senator Bullwinkle (who, in order to keep awake while posing, always had his speeches of a decade ago read aloud to him by my wife) I would be in no mood for trifling with mere beauty. Gigi knew that I needed three hours of uninterrupted work on my head of Christ, before I could well show it to an enlightened Bishop; he knew that I was behind with my Iowa figures; he knew that my bust of General Daly ought to have been finished, boxed, and shipped a month before; he knew that my big clay relief of the Spanker-Sampson children had developed a crack across the nose of the middle boy, making him look more cross-eyed than he really was, so that his likeness was wholly unfit for the inspection of a fond and fabulously rich Middle-Western aunt, due to arrive on the Wednesday. In short, Gigi knew that I was counting on this priceless afternoon, of all the afternoons of my life, to justify, yes, to glorify, my career as an artist. And to think that at such a time as this, he could show in that girl, simply because, as he afterward explained, to do otherwise would have been, for him, _impossibile_, she was _si bella, bella_! Gigi shared my weakness, you observe; he too was pledged to beauty.

At arm’s length, he pushed up her card to me as I stood on my high ladder. The name was a long one, beginning with _C_ and ending in _en_—Chittenden, of course. I waved away the name and would have had Gigi do likewise by the owner. Too late! She was already inside the door. Grudgingly enough, I climbed down from my head of Christ, well resolved to make short shrift of the girl and all her works. But even before I reached the ground, I was somewhat disarmed, because, clad wholly in black as she was, with the heavenly young radiance of her eyes merging softly into the faint rosy radiance of her uplifted face and the shadowed golden radiance of her hair, while the three radiances together were enclosed within the black-rimmed, transparent circle of her veiled hat, she was beyond any mortal doubt an engaging sight. I caught myself saying, under my breath, “Oh, happy hat!” This struck me at the time as an asinine remark, even when privately made, and I ascribed it to the spring season. Looking back, I see that the observation was quite correct. In reality, the girl was just a complex of radiances, bounded by black; sweet and twenty, and in mourning.

Walking respectfully behind this glorious sad young person was a footman who failed to supply the contrast of usefulness to beauty. He was not even carrying the white oblong box which was evidently one of the properties of this ill-timed visit. I saw with relief that it was too narrow to contain a death-mask. Miss Chittenden held this box between her hands as if it were a very precious thing; a fold of her veil had been laid reverently around its corners. In her unconsciousness of self and in her absorption in the business that occupied her, she seemed to me a figure both sculptural and symbolic. Turned into stone, she would have been a Pandora on an antique vase, or rather a Saint Cunegonde or Saint Scholastica weathering the centuries on some mediæval portal. All her motions had a kind of free and classic largeness mingled with their high-heeled modernness; yet her attitude toward that box was, as I told myself, purest Gothic.

As we undid the box together, Miss Chittenden explained that ever since she had seen my statuette of a Dancer in the new Museum in her home town, more than a year ago, she had longed above all things to possess a piece of marble from my chisel, my own chisel; “the personal touch, you know!” So (and here the forget-me-not eyes became more misty and the young voice more vibrant) when her mother died, in April, she had had a cast made from her mother’s hand, which to her was the most beautiful thing in the world; and she hoped, oh, so much, that I would be willing to copy it for her in marble. Done in the way I would do it, she was good enough to say, it would be something really living—something she could have and love forever and ever.

My dismay was complete. Indeed, copying plaster casts in marble was not at all in my line. Right or wrong, I felt myself capable of higher things. Apparently this Miss Chittenden was not only classic, mediæval, and modern, but also quite Victorian, all in the same breath. For surely it was a preposterous Victorian idea of hers to want a marble hand! As we drew the cast from its wrappings, its fragile beauty moved me, I confess; but I steeled myself, steadfastly considering how on earth, without hurting the girl’s feelings, I could make her understand my point of view.

“The hand is perfection itself,” said I, in all honesty. “And,” I added, glancing at her own hand, from which she had removed her ugly black glove, the better to handle the cast, “it is very like your own, in construction; I mean—”

“You mean my hand is built like hers, but it’s not so pretty—”

“Not so small, certainly!” I wondered whether this might vex her a bit, on her Victorian side. But no, she seemed rather pleased than otherwise.

“I’m three inches taller than mother was,” she observed, cheerily. “Her size hand wouldn’t have looked at all well, on me.”

Really this girl had some sense. Besides, she was quick to divine that the commission she was offering me was not precisely attractive to me. She seemed to search for the cause.

“You know,” she said, eagerly, “I wouldn’t want to hamper you in your imagination! Oh, no, not that! I wouldn’t dream of asking you to copy the cast just as it is. It would be all right if you put in a Bible or something under the hand, and some lace around the wrist, or some knitting-work and knitting-needles sticking out from the book. Mother often left her knitting at a favorite passage, so that when I came to put away her work at night, as I always did, I might guess what text it was that interested her. We made a regular game of it. And” (here she flushed and hesitated) “I’m perfectly willing and able to pay the going price for any extras you put in. Only, I don’t really know much about such things.” Her smile was wistful, rather than embarrassed; but in an instant, it had widened into a boyish and wholly fascinating grin. “I don’t know whether it shows on me or not, but this is the first time I’ve ever been East. I suppose I’m not so—sophisticated and so on—as if I’d had a genuine Eastern education, as mother had. Oh, but you don’t know what it is to have first a Missouri uncle and then a Fifth Avenue aunt protecting you to death, every step you take! I might have asked Auntie all about this kind of thing, of course. She has lived in New York always, and knows the ropes. You see, I’m staying with her until I go abroad in June. But, I just didn’t want to talk with her about it. I’m my own mistress, now! The moment I saw that Dancer of yours, I said to myself, ‘When I come into my own money, I shall have that man carve a piece of marble for me, and do something to elevate American art!’ And now the time is come.”

What I ought to have said then was this: “My dear young lady, if you really want to advance your country’s art (and very laudable it is on your part!) and if you insist that your heart’s desire is to be carried out in marble, by my chisel, as you put it, why in the name of all that’s young and gay and jubilant don’t you ask me to do you a dancer, or a fountain figure, or a nymph, or a faun, or even a mantelpiece, with some joyous caryatids?” But I didn’t say anything of the kind. Besides, a horrid thought came to me that perhaps she might not understand caryatid, or might get the word confused with hermaphrodite, as I have observed that tourists returning from Italian galleries sometimes do, even when duly instructed. Indeed, the forget-me-not eyes rested so lovingly on the plaster cast that I hadn’t the heart to be coldly frank with her, and to tell her that in a few years the marble hand she now wanted might seem an encumbrance; something that for old sake’s sake she couldn’t bear to tuck away in the attic, and yet something that one really couldn’t, if one kept up with the times, put in a glass case on a library shelf, or on one’s own dressing-table. Some of our sculptors might have managed it. I can imagine that brute of a Schneider, for example, telling her that there was nothing in it for her; that a “marple hant would be too pig for a baber-wade, and too liddle for a lawn-tecoration.” He would be able to suggest that the proper move for her to make would be to build a fine large monument to her mother, with the hand “joost as a veature.” But since I’m not Schneider, all I could say was, “This cast is beautiful, indeed, but aren’t you afraid that when translated into marble, it will no longer seem so lovely and so living to you?”

“Ah, but,” persisted the girl, “the marble of it is part of all I want! All I want is mother’s hand, done by your hand.” She blushed, and so did I.

“It’s very kind of you to want my work,” I stammered. “Really, it makes me feel awfully grateful, and humble, too! But do you realize that very few of our sculptors carve in marble the things they model in clay? The custom is, to let some carver, generally an Italian, do most if not all of the marble-carving, just as it’s the custom to have a bronze foundry cast our bronze statues. You see,” I went on, warming to my task of educating this bright being, “things are different now from what they were in Cellini’s time, or Michael Angelo’s. In Renaissance days, a sculptor could do the whole job from start to finish, if he wanted to, but to-day, he can’t, and doesn’t want to. He saves himself for what he fondly thinks is the imaginative and intellectual part. He models in clay, of course, but there’s a lot besides that. There’s building armatures, and making plaster casts, and so on; and he generally lets Gigi do it.”

We glanced at Gigi, who, for the second time that afternoon, was sinning. Gigi had not retired to his customary labors behind the burlap curtain, but was standing near us, carving at a bit of plaster medallion, ostensibly turning it this way and that to get a better light on it, but in reality feasting his Latin eyes on Miss Chittenden’s beauty. And then Gigi, usually a silent soul, did a strange thing. He began to talk, very eagerly.

“The hand of the Signorina’s mother is truly beautiful.” (The Signorina giggled, and then was shocked by her own levity. She told me afterward that she couldn’t help laughing; she had felt as if Gigi were pouring out a page from a foreign-language grammar all over her.) “In marble,” continued Gigi, “the marble that grows in my part of the world, how very fine it would be! I myself could well begin it, and the Signor could finish it. You have seen the art of the Signor! Many sculptors cannot do what the Signor can. It is the _morbidezza_! The others do not attain it.”

Miss Chittenden flashed upon Gigi a smile more dazzling than any she had yet given to me. “Now as I understand it,” she cried, “he could rough out your design and do the heavy work on it, and then you could take the marble and finish it up, and give it the more—what-do-you-call-it?”

We all three laughed aloud at that, and while I was trying to explain to the girl, as tactfully as possible, that after she had been abroad and seen the works of art in many countries, she might not care for a marble hand on a book, even with lace at the wrist, and with knitting-needles sticking out of the book, Gigi returned to his den, from which one then heard the sound of hard labor. I was finding it rather difficult to convince Miss Chittenden that she was asking for what was obsolete, from the world’s point of view, and impossible, from mine. I tried to dissuade her by telling her that it would be only a fragment. With astounding quickness she replied, “Oh, but that wouldn’t matter, would it? Lots of those old part-gods in the Museum are only fragments, and yet the teachers in the Art Department are always praising them up, just the same!”

Before I could frame an answer to that, Gigi emerged, pushing before him a little stand on which was a block of fine pink marble which I had obtained years before, in peculiar circumstances. It was a piece I had long been guarding for some future master-work of mine—something that was to be absolutely original, yet wholly classic; one has such dreams. And here was Gigi showing it to that girl! His admiration for her had become so boundless that he opened up his heart to her in all the three languages he could use. If the Signorina would deign, he would explain to Mademoiselle that this was a little, little block of marble which his own _cognato_ had stolen one night (knowing it to be a good action) from the workshop of the marvellous Duomo which she herself would see when she saw the most beautiful cathedral in all Italy! And his brother-in-law had sold it to a great sculptor who was visiting Italy at that time, but of course did not know it was stolen. (Gigi was lying a little, but his lying blends so agreeably with his candor that I myself cannot always distinguish one from the other.)

I saw that the blue-eyed girl was thoroughly enjoying Gigi. Though this was before the day of the so-called Greenwich Village, I am sure that Miss Chittenden thought that now at last, freed alike from her Missouri uncle and her Fifth Avenue aunt, she was seeing Bohemia; perfectly respectably too. If only a celebrated model or two had strayed in, her happiness would have been complete. As it was, she garnered up Gigi’s sayings with the same single-hearted attention she had given to my own. He explained, in his party-colored way of speech, that this little block was marvellously fine in grain; it was free from dark streaks, too—he would stake the tomb of his fathers on that!—while its crowning exquisiteness lay in its color, a pale surpassing pink as of earliest dawn over Tuscany. There was no other marble in the world quite like it. That was why his _cognato_ had been _obliged_ to steal it, for the sake of art. If you had any taste at all, any love for the beautiful, you would call it using, not stealing! And again, behold! While it was too small for a head (except a _bambino’s_ head, and it was a little too long for that, unless you wasted a great deal, and certainly it was more of a sin to waste such marble than to steal it), it was just exactly the right size for the dear hand of the Signorina’s mother, lying upon the open book, or even on the closed book, with the knitting-needles protruding; difficult, of course, but where there’s a wish, there’s a road—

I stared astounded at Gigi. In all the ten years he had worked for me, I had never heard from him so many words at once. I could not dam the flood.

“_Ah, oui_,” he pursued, “_certamente_ Mademoiselle could have the lace around the wrist, if she so wished, and—”

“No, Gigi,” I interposed firmly. “The lady _cannot_ have the lace. Not _with_ the knitting-needles. At one or the other I draw the line.” Again, we three laughed together. What was there about this dewy-eyed girl that made us so natural and human? Was it the Missouri in her? Old Schneider was from Missouri, but he never made me feel human. Was it her beauty? Very likely, but at the time, I doubted it. One always _does_ doubt it, at the time. The result was, as I have already confessed, I fell for the girl in blue, as I was to call her in later days. I weakly told her that if Gigi would rough out the hand and the book, in the pale pink marble, I would be willing to finish it for her; yes, I added cynically, I would put in all the _morbidezza_ the most exacting client could require. I would charge her four hundred dollars for the completed work. It was a high price, I told her. Others might do it for less; not I. And mind, there were to be no knitting-needles and no lace, unless I should greatly change my idea. She drooped visibly, not at the price, which seemed to be of little moment to her, but at the loss of the homely details in the work by which she hoped to elevate our art. To console her, I said that I would probably design a bit of drapery to take the place of the lace, but nothing fussy or obtrusive. I told her that she could have the thing completed, on her return to New York, a year later. Just as she was leaving the studio, to rouse the footman from his colored supplement in the anteroom, where he had remained, doubtless under orders from Auntie, I pulled myself together to contemplate the extent to which I had fallen. Perhaps I could climb up again. Perhaps my high ideals in art were not lost forever.

“Remember, Miss Chittenden,” said I, in what I hoped would be an impressive manner, “remember this! If after you have visited galleries and studios abroad, and seen the works of Rodin and Dampt and Donatello and Bourdelle and Praxiteles and Maillol and a few others, remember, if one year later, when you’ve had more observation of art, you should no longer care to have this hand in marble, I for my part will call this contract of ours null and void; and you may do the same.” It sounded well, as I said it.

The blue-eyed one flashed back on me her friendly, all-conquering smile. “I shall remember,” she said. “But you know, my name isn’t Chittenden, at all. Never was, and never will be, I hope! In fact, I have other plans—but no matter! You thought I was a chit, and so you called me Chittenden—”

This bit of girlish reasoning struck me as being so straight from Sigmund Freud that I was disconcerted. But she hastened to cover my confusion.

“It’s all right,” she laughed. “I didn’t want to take up your time by correcting a perfectly reasonable mistake. And if you’d rather call me Chittenden, pray do! But my name is really Clarenden, with Mariellen in front. See!” She offered me another of her cards. Her face took on a look of charming gravity as we shook hands. “Whatever happens,” she said, “I know you will be very careful of the plaster cast. I know you understand my feeling about it.”

The following April, Mariellen Clarenden wrote to me from Paris, to tell me that I might expect her in my studio about the middle of May. She had visited the Salon, she said, and had seen strange sights in the world of art. Also, she had worked hard on her French; luckily, she added, she had a good Missouri foundation. The closing sentence of her letter went to my head a little. “_Mon Dieu_,” she wrote, “_Mon Dieu_, how great you are—you and Auguste Rodin!” “_Mon Dieu_,” indeed! Was this girl becoming sophisticated, like the others? Time would tell.

Early in the morning, on May 15th, I had a telephone message to the effect that Miss Clarenden, according to promise, would revisit my studio promptly at ten, if I would permit. As I have always been a collector of coincidences, I noted with zest that May 15th was exactly one year from the date of my absurd one-sided party-of-the-first-part contract concerning the marble hand. I further noted, not without dismay, that Senator Bullwinkle was to have his final sitting that very afternoon. Still adding to my collection, I recalled that it had happened like that the year before; Clarenden day had been Bullwinkle day, a day of mingled sun and cloud.

Now that Bullwinkle bust had always been a vexation to my spirit, partly because old Bullwinkle had so often played truant, instead of giving me the necessary sittings. He was forever travelling about the country for political purposes, or else attending the funerals of near relatives. Sometimes I fancied that he would go to any lengths, no matter how criminal, rather than face me from the sitter’s chair. The commission, given to me by a group of Bullwinkle enthusiasts, was to be handsomely paid, but was to be kept a profound secret from the world until the finished bronze bust should be set in place as the crowning ornament of the celebrated five-million-dollar Bullwinkle Building, at that time under way. To me, there was something rather childish about this pseudo-secrecy, openly kept up for nearly two years. But above all, that bust bothered me because I myself had not yet mastered it. As it stood there in the searching May light, I saw in its loose ends, its uninteresting planes, its prosaic light-and-dark, its flabbiness of brow and cheek, its dreary wastes of shirt bosom and lapel, only a monument to my own incapacity to seize and reveal the characteristics of my subject;—to tell in my clay all the news that was fit to print about him, with just enough more to keep the spectator guessing. Lord, how I had tried, and failed, to penetrate the Bullwinkle personality! At first, I had privately laughed at the Senator as a ridiculous old card, holding on to the present and yearning toward the future, but in reality, living only on the past and its triumphs. Indeed, his middle years had been a pageant of triumphs. Very soon, however, I found I was not getting on with my work. The man worried me. I could not discover what there was within him that had lifted him above the shoulders of the crowd. I could not for the life of me isolate his own private germ of human grandeur, and inoculate my clay with it. Yet I acknowledged grandeur in him. It would be absurd to attribute to anything so blind as chance his astounding command over human votes.