Part 67

“I think, myself,” agreed Leroux, “that it will hasten my recovery to breathe the fresh air once again.”

Knowing how eagerly he longed for health and strength, and to what purpose, the girl found something very pathetic in the words.

“I wish you were well enough to come out this afternoon,” she said; “I am going to a private view at Olaf van Noord's studio. It is sure to be an extraordinary afternoon. He is the god of the Soho futurists, you know. And his pictures are the weirdest nightmares imaginable. One always meets such singular people there, too, and I am honored in receiving an invitation to represent the Planet!”

“I consider,” said Denise Ryland, head wagging furiously again, “that the man is... mad. He had an exhibition... in Paris ... and everybody... laughed at him... simply LAUGHED at him.”

“But financially, he is very successful,” added Helen.

“Financially!” exclaimed Denise Ryland, “FINANCIALLY! To criticize a man's work... financially, is about as... sensible as... to judge the Venus... de Milo... by weight!--or to sell the works... of Leonardo... da Vinci by the... yard! Olaf van Noord is nothing but... a fool... of the worst possible... description... imaginable.”

“He is at least an entertaining fool!” protested Helen, laughingly.

“A mountebank!” cried Denise Ryland; “a clown... a pantaloon... a whole family of... idiots... rolled into one!”

“It seems unkind to run away and leave you here--in your loneliness,” said Helen to Leroux; “but really I must be off to the wilds of Soho.”...

“To-morrow,” said Leroux, standing up and fixing his eyes upon her lingeringly, “will be a red-letter day. I have no right to complain, whilst such good friends remain to me--such true friends.”...

XXVI

“OUR LADY OF THE POPPIES”

A number of visitors were sprinkled about Olaf van Noord's large and dirty studio, these being made up for the most part of those weird and nondescript enthusiasts who seek to erect an apocryphal Montmartre in the plains of Soho. One or two ordinary mortals, representing the Press, leavened the throng, but the entire gathering--“advanced” and unenlightened alike--seemed to be drawn to a common focus: a large canvas placed advantageously in the southeast corner of the studio, where it enjoyed all the benefit of a pure and equably suffused light.

Seated apart from his worshipers upon a little sketching stool, and handling a remarkably long, amber cigarette-holder with much grace, was Olaf van Noord. He had hair of so light a yellow as sometimes to appear white, worn very long, brushed back from his brow and cut squarely all around behind, lending him a medieval appearance. He wore a slight mustache carefully pointed; and his scanty vandyke beard could not entirely conceal the weakness of his chin. His complexion had the color and general appearance of drawing-paper, and in his large blue eyes was an eerie hint of sightlessness. He was attired in a light tweed suit cut in an American pattern, and out from his low collar flowed a black French knot.

Olaf van Noord rose to meet Helen Cumberly and Denise Ryland, advancing across the floor with the measured gait of a tragic actor. He greeted them aloofly, and a little negro boy proffered tiny cups of China tea. Denise Ryland distended her nostrils as her gaze swept the picture-covered walls; but she seemed to approve of the tea.

The artist next extended to them an ivory box containing little yellow-wrapped cigarettes. Helen Cumberly smilingly refused, but Denise Ryland took one of the cigarettes, sniffed at it superciliously--and then replaced it in the box.

“It has a most... egregiously horrible... odor,” she commented.

“They are a special brand,” explained Olaf van Noord, distractedly, “which I have imported for me from Smyrna. They contain a small percentage of opium.”

“Opium!” exclaimed Denise Ryland, glaring at the speaker and then at Helen Cumberly, as though the latter were responsible in some way for the vices of the painter.

“Yes,” he said, reclosing the box, and pacing somberly to the door to greet a new arrival.

“Did you ever in all your life,” said Denise Ryland, glancing about her, “see such an exhibition... of nightmares?”

Certainly, the criticism was not without justification; the dauby-looking oil-paintings, incomprehensible water-colors, and riotous charcoal sketches which formed the mural decoration of the studio were distinctly “advanced.” But, since the center of interest seemed to be the large canvas on the easel, the two moved to the edges of the group of spectators and began to examine this masterpiece. A very puzzled newspaperman joined them, bending and whispering to Helen Cumberly:

“Are you going to notice the thing seriously? Personally, I am writing it up as a practical joke! We are giving him half a column--Lord knows what for!--but I can't see how to handle it except as funny stuff.”

“But, for heaven's sake... what does he... CALL it?” muttered Denise Ryland, holding a pair of gold rimmed pince-nez before her eyes, and shifting them to and fro in an endeavor to focus the canvas.

“'Our Lady of the Poppies,'” replied the journalist. “Do you think it's intended to mean anything in particular?”

The question was no light one; it embodied a problem not readily solved. The scene depicted, and depicted with a skill, with a technical mastery of the bizarre that had in it something horrible--was a long narrow room--or, properly, cavern. The walls apparently were hewn from black rock, and at regular intervals, placed some three feet from these gleaming walls, uprose slender golden pillars supporting a kind of fretwork arch which entirely masked the ceiling. The point of sight adopted by the painter was peculiar. One apparently looked down into this apartment from some spot elevated fourteen feet or more above the floor level. The floor, which was black and polished, was strewn with tiger skins; and little, inlaid tables and garishly colored cushions were spread about in confusion, whilst cushioned divans occupied the visible corners of the place. The lighting was very “advanced”: a lamp, having a kaleidoscopic shade, swung from the center of the roof low into the room and furnished all the illumination.

Three doors were visible; one, directly in line at the further end of the place, apparently of carved ebony inlaid with ivory; another, on the right, of lemon wood or something allied to it, and inlaid with a design in some emerald hued material; with a third, corresponding door, on the left, just barely visible to the spectator.

Two figures appeared. One was that of a Chinaman in a green robe scarcely distinguishable from the cushions surrounding him, who crouched upon the divan to the left of the central door, smoking a long bamboo pipe. His face was the leering face of a yellow satyr. But, dominating the composition, and so conceived in form, in color, and in lighting, as to claim the attention centrally, so that the other extravagant details became but a setting for it, was another figure.