He was as sour as an unripe grape-fruit, cynical, embittered, a man savagely disappointed with life and the world; and tragedy was written all over him. If anyone knew the secret of his wasted life it was Dr. Kreener, and Dr. Kreener was a reliquary of so many secrets that this one was safe as if the grave had swallowed it.
One Sunday Tcheriapin joined the party. That he would gravitate there sooner or later was inevitable, for the laboratory in the garden was a Kaaba to which all such spirits made at least one pilgrimage. He had just set musical London on fire with his barbaric playing, and already those stories to which I have referred were creeping into circulation.
Although Dr. Kreener never expected anything of his guests beyond an interchange of ideas, it was a fact that the laboratory contained an almost unique collection of pencil and charcoal studies by famous artists, done upon the spot; of statuettes in wax, putty, soap and other extemporized materials, by the newest sculptors. While often enough from the drawing room which opened upon the other end of the garden had issued the strains of masterly piano-playing, and it was no uncommon thing for little groups to gather in the neighbouring road to listen, gratis, to the voice of some great vocalist.
From the first moment of their meeting an intense antagonism sprang up between Tcheriapin and Andrews. Neither troubled very much to veil it. In Tcheriapin it found expression in covert sneers and sidelong glances, while the big, lion-maned Scotsman snorted open contempt of the Eurasian violinist. However, what I was about to say was that Tcheriapin on the occasion of his first visit brought his violin.
It was there, amid these incongruous surroundings, that I first had my spirit tortured by the strains of "The Black Mass."
There were five of us present, including Tcheriapin, and not one of the four listeners was unaffected by the music. But the influence which it exercised upon Andrews was so extraordinary as almost to reach the phenomenal. He literally writhed in his chair, and finally interrupted the performance by staggering rather than walking out of the laboratory.
I remember that he upset a jar of acid in his stumbling exit. It flowed across the floor almost to the feet of Tcheriapin, and the way in which the little black-haired man skipped, squealing, out of the path of the corroding fluid was curiously like that of a startled rabbit. Order was restored in due course, but we could not induce Tcheriapin to play again, nor did Andrews return until the violinist had taken his departure. We found him in the dining room, a nearly empty whisky-bottle beside him.
"I had to gang awa'," he explained thickly; "he was temptin' me to murder him. I should ha' had to do it if I had stayed. Damn his hell-music."
Tcheriapin revisited Dr. Kreener on many occasions afterward, although for a long time he did not bring his violin again. The doctor had prevailed upon Andrews to tolerate the Eurasian's company, and I could not help noticing how Tcheriapin skilfully and deliberately goaded the Scotsman, seeming to take a fiendish delight in disagreeing with his pet theories and in discussing any topic which he had found to be distasteful to Andrews.
Chief among these was that sort of irreverent criticism of women in which male parties so often indulge. Bitter cynic though he was, women were sacred to Andrews. To speak disrespectfully of a woman in his presence was like uttering blasphemy in the study of a cardinal. Tcheriapin very quickly detected the Scotsman's weakness, and one night he launched out into a series of amorous adventures which set Andrews writhing as he had writhed under the torture of "The Black Mass."
On this occasion the party was only a small one, comprising myself, Dr. Kreener, Andrews and Tcheriapin. I could feel the storm brewing, but was powerless to check it. How presently it was to break in tragic violence I could not foresee. Fate had not meant that I should foresee it.
Allowing for the free play of an extravagant artistic mind, Tcheriapin's career on his own showing had been that of a callous blackguard. I began by being disgusted and ended by being fascinated, not by the man's scandalous adventures, but by the scarcely human psychology of the narrator.
From Warsaw to Budapesth, Shanghai to Paris, and Cairo to London he passed, leaving ruin behind him with a smile-airily flicking cigarette ash upon the floor to indicate the termination of each "episode."
Andrews watched him in a lowering way which I did not like at all. He had ceased to snort his scorn; indeed, for ten minutes or so he had uttered no word or sound; but there was something in the pose of his ungainly body which strangely suggested that of a great dog preparing to spring. Presently the violinist recalled what he termed a "charming idyll of Normandy."
"There is one poor fool in the world," he said, shrugging his slight shoulders, "who never knew how badly he should hate me. Ha! ha! of him I shall tell you. Do you remember, my friends, some few years ago, a picture that was published in Paris and London? Everybody bought it; everybody said: 'He is a made man, this fellow who can paint so fine.'"
"To what picture do you refer?" asked Dr. Kreener.
"It was called 'A Dream at Dawn.'"
As he spoke the words I saw Andrews start forward, and Dr. Kreener exchanged a swift glance with him. But the Scotsman, unseen by the vainglorious half-caste, shook his head fiercely.
The picture to which Tcheriapin referred will, of course, be perfectly familiar to you. It had phenomenal popularity some eight years ago. Nothing was known of the painter-whose name was Colquhoun-and nothing has been seen of his work since. The original painting was never sold, and after a time this promising new artist was, of course, forgotten.
Presently Tcheriapin continued:
"It is the figure of a slender girl-ah! angels of grace!-what a girl!" He kissed his hand rapturously. "She is posed bending gracefully forward, and looking down at her own lovely reflection in the water. It is a seashore, you remember, and the little ripples play about her ankles. The first blush of the dawn robes her white body in a transparent mantle of light. Ah! God's mercy! it was as she stood so, in a little cove of Normandy, that I saw her!"
He paused, rolling his dark eyes; and I could hear Andrews's heavy breathing; then:
"It was the 'new art'-the posing of the model not in a lighted studio, but in the scene to be depicted.
"And the fellow who painted her!-the man with the barbarous name! Bah! he was big-as big as our Mr. Andrews-and ugly-pooh! uglier than he! A moon-face, with cropped skull like a prize- fighter and no soul. But, yes, he could paint. 'A Dream at Dawn' was genius-yes, some soul he must have had.
"He could paint, dear friends, but he could not love. Him I counted as-puff!"
He blew imaginary down into space.
"Her I sought out, and presently found. She told me, in those sweet stolen rambles along the shore, when the moonlight made her look like a Madonna, that she was his inspiration-his art-his life. And she wept; she wept, and I kissed her tears away.
"To please her I waited until 'A Dream at Dawn' was finished. With the finish of the picture, finished also his dream of dawn- the moon-faced one's."
Tcheriapin laughed, and lighted a fresh cigarette.
"Can you believe that a man could be so stupid? He never knew of my existence, this big, red booby. He never knew that I existed until-until his 'dream' had fled-with me! In a week we were in Paris, that dream-girl and I-in a month we had quarrelled. I always end these matters with a quarrel; it makes the complete finish. She struck me in the face-and I laughed. She turned and went away. We were tired of one another.
"Ah!" Again he airily kissed his hand. "There were others after I had gone. I heard for a time. But her memory is like a rose, fresh and fair and sweet. I am glad I can remember her so, and not as she afterward became. That is the art of love. She killed herself with absinthe, my friends. She died in Marseilles in the first year of the great war."