Vandover and the Brute. Frank Norris
every moment of the sharp morning air.
Van Ness Avenue was very still. It was about half-past seven. The curtains were down in all the houses; here and there a servant could be seen washing down the front steps. In the vestibules of some of the smaller houses were loaves of French bread and glass jars of cream, while near them lay the damp twisted roll of the morning's paper. There was everywhere a great chittering of sparrows, and the cable-cars, as yet empty, trundled down the cross streets, the conductors cleaning the windows and metal work. From far down at one end of the avenue came the bells of the Catholic Cathedral ringing for early mass; and a respectable-looking second girl hurried past him carrying her prayer-book. At the other end of the avenue was a blue vista of the bay, the great bulk of Mount Tamalpais rearing itself out of the water like a waking lion.
In front of the little church Turner was waiting for him. She was dressed very prettily and the cold morning air had given her a fine colour.
"You don't look more than half awake," she said, as Vandover came up. "It was awfully good of you to come. Oh, Van, you look dreadfully. It is too bad to make you get up so early."
"No, no," protested Vandover. "I was only too glad to come. I didn't sleep well last night. I hope I haven't kept you waiting."
"I've only just come," answered Turner. "But I think it is time to go in."
The little organ was muttering softly to itself as they entered. It was very still otherwise. The morning sun struck through the stained windows and made pretty lights about the altar; besides themselves there were some half dozen other worshippers. The little organ ceased with a long droning sigh, and the minister in his white robes turned about, facing his auditors, and in the midst of a great silence opened the communion service with the words: "Ye who do truly and earnestly repent you of your sins and are in love and charity with your neighbours—"
As Vandover rose with the rest the blood rushed to his head and a feeling of nausea and exhaustion, the dregs of his previous night's debauch, came over him again for a moment, so that he took hold of the back of the pew in front of him to steady himself.
Chapter Five
In the afternoons Vandover worked in his studio, which was on Sacramento Street, but in the mornings he was accustomed to study in the life-class at the School of Design.
This was on California Street over the Market, an immense room partitioned by enormous wooden screens into alcoves, where the still-life classes worked, painting carrots, grapes, and dusty brown stone-jugs.
All about were a multitude of casts, the fighting gladiator, the discobulus, the Venus of Milo, and hundreds of smaller pieces, masks, torsos, and the heads of the Parthenon horses. Flattened paint-tubes and broken bits of charcoal littered the floor and cluttered the chairs and shelves. A strong odour of turpentine and fixative was in the air, mingled with the stronger odours of linseed oil and sour, stale French bread.
Every afternoon a portrait class of some thirty-odd assembled in one of the larger alcoves near the door. Several of the well-known street characters of the city had posed for this class, and at one time Father Elphick, the white-haired, bare-headed vegetarian, with his crooked stick and white clothes, had sat to it for his head.
Vandover was probably the most promising member of the school. His style was sketchy, conscientious, and full of strength and decision. He worked in large lines, broad surfaces and masses of light or shade. His colour was good, running to purples, reds, and admirable greens, full of bitumen and raw sienna.
Though he had no idea of composition, he was clever enough to acknowledge it. His finished pictures were broad reaches of landscape, deserts, shores, and moors in which he placed solitary figures of men or animals in a way that was very effective—as, for instance, a great strip of shore and in the foreground the body of a drowned sailor; a lion drinking in the midst of an immense Sahara; or, one that he called "The Remnant of an Army," a dying war horse wandering on an empty plain, the saddle turned under his belly, his mane and tail snarled with burrs.
Some time before there had come to him the idea for a great picture. It was to be his first masterpiece, his salon picture when he should get to Paris. A British cavalryman and his horse, both dying of thirst and wounds, were to be lost on a Soudanese desert, and in the middle distance on a ridge of sand a lion should be drawing in upon them, crouched on his belly, his tail stiff, his lower jaw hanging. The melodrama of the old English "Home Book of Art" still influenced Vandover. He was in love with this idea for a picture and had determined to call it "The Last Enemy." The effects he wished to produce were isolation and intense heat; as to the soldier, he was as yet undecided whether to represent him facing death resignedly, calmly, or grasping the barrel of his useless rifle, determined to fight to the last.
Vandover loved to paint and to draw. He was perfectly contented when his picture was "coming right," and when he felt sure he was doing good work. He often did better than he thought he would, but never so well as he thought he could.
However, it bored him to work very hard, and when he did not enjoy his work he stopped it at once. He would tell himself on these occasions that one had to be in the mood and that he should wait for the inspiration, although he knew very well how absurd such excuses were, how false and how pernicious.
That certain little weakness of Vandover's character, his self-indulgence, had brought him to such a point that he thought he had to be amused. If his painting amused him, very good; if not, he found something else that would.
On the following Monday as he worked in the life-class, Vandover was thinking, or, rather, trying not to think, of what he had done the Sunday morning previous when he had gone to communion with Turner Ravis. For a long time he evaded the thought because he knew that if he allowed it to come into his mind it would worry and harass him. But by and by the effort of dodging the enemy became itself too disagreeable, so he gave it up and allowed himself to look the matter squarely in the face.
Ah, yes; it was an ugly thing he had done there, a really awful thing. He must have been still drunk when he had knelt in the chancel. Vandover shuddered as he thought of this, and told himself that one could hardly commit a worse sacrilege, and that some time he would surely be called to account for it. But here he checked himself suddenly, not daring to go further. One would have no peace of mind left if one went on brooding over such things in this fashion. He realized the enormity of what he had done. He had tried to be sorry for it. It was perhaps the worst thing he had ever done, but now he had reached the lowest point. He would take care never to do such a thing again. After this he would be better.
But this was not so. Unconsciously, Vandover had shut a door behind him; he would never again be exactly the same, and the keeping of his appointment with Turner Ravis that Sunday morning was, as it were, a long step onward in his progress of ruin and pollution.
He shook himself as though relieving his shoulders of a weight. The model in the life-class had just been posed for the week, and the others had begun work. The model for that week was a woman, a fact that pleased Vandover, for he drew these nude women better than any one in the school, perhaps better than any one in the city. Portrait work and the power to catch subtle intellectual distinctions in a face were sometimes beyond him, but his feeling for the flesh, and for the movement and character of a pose, was admirable.
He set himself to work. Holding his stick of charcoal toward the model at arm's-length, he measured off the heads, five in all, and laid off an equal number of spaces upon his paper. After this, by aid of his mirror, he studied the general character of the pose for nearly half an hour. Then, with a few strokes of his charcoal he laid off his larger construction lines with a freedom and a precision that were excellent. Upon these lines he made a second drawing a little more detailed, though as yet everything was blocked in, angularly and roughly. Then, putting a thin flat edge upon his charcoal, he started the careful and finished outline.
By the end of an hour the first sketch of his drawing was complete. It was astonishingly good, vigorous and solid; better than all, it had that feeling for form that makes just the difference between the amateur and the genuine artist.
By this time Vandover's interest began to flag. Four times he had drawn and redrawn the articulation of the model's left shoulder. As she stood, turned sideways to him,