Nov 2012
A story in three movements after the painting by Mary Elwell*
I
She’s out. Changed her frock, left me a list and her letters on the hall table. I heard the door bang. She was in a hurry. Wednesday afternoon she’s often in a hurry. I don’t know where she goes, but she’s usually back about 9.0, and Mr Fred has his tea by himself. I come in here when she’s out and I’ve done the necessary. It’s a big house and apart from Janet and Elsie in the mornings I look after the place, and her when necessary. She’ll call me into her bedroom to tell me what she wants done with her laundry. She’s fussy, but she can afford to be. She has two wardrobes, what I call her Mrs Fred clothes and her ‘Mrs Knight’ clothes. They’re quite different; like she’s two different people. When she paints she’s someone I don’t know at all – she looks like a *****. She doesn’t belong in this room anyway when she paints. She has her studio in the attic and doesn’t even let Mr Fred in there. I don’t go in there. I’ve never got further than the door. She doesn’t want anyone to see what goes on in there. Oh, I see the pictures when they’re finished. She places them on Mr Fred’s easel in the drawing room and spends hours pacing up and down looking at them. She pulls up a chair and sits there. She doesn’t like being interrupted when she’s doing that. I like to come in here when she’s out. It’s a lady’s bedroom. I don’t think Mr Fred comes in here very often. She likes to go to him when she does, which isn’t often. When I first came here they were always in each other’s bedrooms, but she keeps herself to herself now except when Mrs Knight comes.
II
When I was a young man I often used to look up from Walkergate at the windows of this room. You can’t miss them really as you walk towards the Bar. I coveted this house you know. Marrying Mary suddenly made that a possibility. When Holmes died and left her his fortune it came on the market and I said lightly one afternoon – she was in my studio in London – I see Bar House is up for sale. Yes, she said, we could buy it. I think she knew I wasn’t going to get anywhere in London, and she wanted to go back to Yorkshire. She was from the first going to be her own person having been Holmes’ for ten years – an older man, dull and old. She felt by marrying me, an artist, her desire to be solitary, self-absorbed, would be understood. I don’t often come in here. She comes to me, usually to talk at the end of the day. She doesn’t sleep well, never has. We don’t, well you know, it was all about friendship, companion-ship I suppose, and money. She had it. I didn’t. You know the light in this room is so wonderful in the afternoon – like honey. I like to sit on her bed and think of the days when I would wake in this room. There were two beds here then. She’d be sitting at her writing table in her blue gown. She liked to get up with the dawn and write long letters to her friends, mainly Laura of course. After that first sitting she began writing to me, all about her love of painting and how Alfred had never encouraged her, and would I help her, advise her? She wanted to go to Paris and be in some Impressionist’s atelier. I soon realised in Paris I was never going to be a great artist or a modern painter. There’s one picture from that time . . . only one; that girl from the theatre, Amelie. I’d seen Degas and thought . . . no matter, I could never match her letters. I was always a disappointment. I still am. I would sit down at my desk with one of her letters - she wrote to me almost every day - and think ‘I’ll just deal with that enquiry from Alsop’s’, and then I’d find another pressing letter, or I’ll look at my accounts, and all my good intentions would be as nothing. If I’d really loved her I would have written I’m sure. It takes time to write, to think what to say. It’s time I always felt I couldn’t allow myself. Painting was more than enough, and more important than letters to Mary. She wanted to talk to me, and wanted me to talk back. So she talks to Laura now, who returns her ‘talk’ with equally long letters – with sketches and caricatures of people she’s met or ‘observed’. Occasionally, I catch sight of one of these illustrated letters on the sitting room sofa, placed inside a book she is reading. I have a box of Mary’s letters, and when she’s away I look at them and read her quiet words – what she’s seen, what she’s read, what she hoped we might become.
III
I often stand at the door, even today when I’m in a rush, to gaze at my room before going out and leaving it to itself. I love it so in the afternoons when the sun takes hold of it, illuminates it. You know each item of furniture has its own story; my mother’s quilt on my bed, the long mirror from Alfred’s house; my writing box given to me by my Godmother on my 21st; the little blue vase by my wash stand – that back street shop in Venice, my first visit. I stand at the door and think, well, just what do I think? Perhaps I just rest for a moment at the sight of myself reflected in these ‘things’, my possessions, my chosen decoration, the colours and tones and shapes and positions of objects that surround my daily life. My precious pictures; some important gifts, others all about remembrance, a few from my childhood, my first marriage – Alfred was very generous. The silver vase on my writing table glows with delphiniums from the garden – and a single rose from Laura. And today we will meet, as we do on alternate Wednesdays, to drink tea in the Station Hotel, arriving on our different trains from our different lives. This friendship sustains me, and more than she will ever know. She is so resolute, so gifted as an artist. She is a painter. She has imagination, whereas as I just see and record. She puts images together that carry stories. That RA **** – that’s Laura you know – and the painter is me – and wearing a hat for goodness sake! Me paint in a hat! I remember her going through my wardrobe to dress me for that picture. Why the hat? I kept asking. But she made me look as I’ve always wanted to look in a picture – as though I was a real artist and not a wealthy woman who ‘plays’ at painting. Fred’s portraits say nothing to me, whereas Laura’s make me feel weak inside. I remember her trying out that pose in front of my long mirror. ‘Will this do?, she would say, ‘Or this? All I could look at were her long, long fingers, imagining her touch on my arm when she kissed me goodbye.
I
She’s out. Changed her frock, left me a list and her letters on the hall table. I heard the door bang. She was in a hurry. Wednesday afternoon she’s often in a hurry. I don’t know where she goes, but she’s usually back about 9.0, and Mr Fred has his tea by himself. I come in here when she’s out and I’ve done the necessary. It’s a big house and apart from Janet and Elsie in the mornings I look after the place, and her when necessary. She’ll call me into her bedroom to tell me what she wants done with her laundry. She’s fussy, but she can afford to be. She has two wardrobes, what I call her Mrs Fred clothes and her ‘Mrs Knight’ clothes. They’re quite different; like she’s two different people. When she paints she’s someone I don’t know at all – she looks like a *****. She doesn’t belong in this room anyway when she paints. She has her studio in the attic and doesn’t even let Mr Fred in there. I don’t go in there. I’ve never got further than the door. She doesn’t want anyone to see what goes on in there. Oh, I see the pictures when they’re finished. She places them on Mr Fred’s easel in the drawing room and spends hours pacing up and down looking at them. She pulls up a chair and sits there. She doesn’t like being interrupted when she’s doing that. I like to come in here when she’s out. It’s a lady’s bedroom. I don’t think Mr Fred comes in here very often. She likes to go to him when she does, which isn’t often. When I first came here they were always in each other’s bedrooms, but she keeps herself to herself now except when Mrs Knight comes.
II
When I was a young man I often used to look up from Walkergate at the windows of this room. You can’t miss them really as you walk towards the Bar. I coveted this house you know. Marrying Mary suddenly made that a possibility. When Holmes died and left her his fortune it came on the market and I said lightly one afternoon – she was in my studio in London – I see Bar House is up for sale. Yes, she said, we could buy it. I think she knew I wasn’t going to get anywhere in London, and she wanted to go back to Yorkshire. She was from the first going to be her own person having been Holmes’ for ten years – an older man, dull and old. She felt by marrying me, an artist, her desire to be solitary, self-absorbed, would be understood. I don’t often come in here. She comes to me, usually to talk at the end of the day. She doesn’t sleep well, never has. We don’t, well you know, it was all about friendship, companion-ship I suppose, and money. She had it. I didn’t. You know the light in this room is so wonderful in the afternoon – like honey. I like to sit on her bed and think of the days when I would wake in this room. There were two beds here then. She’d be sitting at her writing table in her blue gown. She liked to get up with the dawn and write long letters to her friends, mainly Laura of course. After that first sitting she began writing to me, all about her love of painting and how Alfred had never encouraged her, and would I help her, advise her? She wanted to go to Paris and be in some Impressionist’s atelier. I soon realised in Paris I was never going to be a great artist or a modern painter. There’s one picture from that time . . . only one; that girl from the theatre, Amelie. I’d seen Degas and thought . . . no matter, I could never match her letters. I was always a disappointment. I still am. I would sit down at my desk with one of her letters - she wrote to me almost every day - and think ‘I’ll just deal with that enquiry from Alsop’s’, and then I’d find another pressing letter, or I’ll look at my accounts, and all my good intentions would be as nothing. If I’d really loved her I would have written I’m sure. It takes time to write, to think what to say. It’s time I always felt I couldn’t allow myself. Painting was more than enough, and more important than letters to Mary. She wanted to talk to me, and wanted me to talk back. So she talks to Laura now, who returns her ‘talk’ with equally long letters – with sketches and caricatures of people she’s met or ‘observed’. Occasionally, I catch sight of one of these illustrated letters on the sitting room sofa, placed inside a book she is reading. I have a box of Mary’s letters, and when she’s away I look at them and read her quiet words – what she’s seen, what she’s read, what she hoped we might become.
III
I often stand at the door, even today when I’m in a rush, to gaze at my room before going out and leaving it to itself. I love it so in the afternoons when the sun takes hold of it, illuminates it. You know each item of furniture has its own story; my mother’s quilt on my bed, the long mirror from Alfred’s house; my writing box given to me by my Godmother on my 21st; the little blue vase by my wash stand – that back street shop in Venice, my first visit. I stand at the door and think, well, just what do I think? Perhaps I just rest for a moment at the sight of myself reflected in these ‘things’, my possessions, my chosen decoration, the colours and tones and shapes and positions of objects that surround my daily life. My precious pictures; some important gifts, others all about remembrance, a few from my childhood, my first marriage – Alfred was very generous. The silver vase on my writing table glows with delphiniums from the garden – and a single rose from Laura. And today we will meet, as we do on alternate Wednesdays, to drink tea in the Station Hotel, arriving on our different trains from our different lives. This friendship sustains me, and more than she will ever know. She is so resolute, so gifted as an artist. She is a painter. She has imagination, whereas as I just see and record. She puts images together that carry stories. That RA **** – that’s Laura you know – and the painter is me – and wearing a hat for goodness sake! Me paint in a hat! I remember her going through my wardrobe to dress me for that picture. Why the hat? I kept asking. But she made me look as I’ve always wanted to look in a picture – as though I was a real artist and not a wealthy woman who ‘plays’ at painting. Fred’s portraits say nothing to me, whereas Laura’s make me feel weak inside. I remember her trying out that pose in front of my long mirror. ‘Will this do?, she would say, ‘Or this? All I could look at were her long, long fingers, imagining her touch on my arm when she kissed me goodbye.
