第19章 CHAPTER IV(4)

She must not touch anything. All she may do is to read a book--not really read it, that would suggest too much life and movement: she sits with the book in her lap and gazes into the fire, if it happens to be the dining-room: or out of the window if it happens to be a morning-room, and the architect wishes to call attention to the window-seat. Nothing of the male species, as far as I have been able to ascertain, has ever entered these rooms. I once thought I had found a man who had been allowed into his own "Smoking-Den," but on closer examination it turned out he was only a portrait.

Sometimes one is given "Vistas." Doors stand open, and you can see right away through "The Nook" into the garden. There is never a living soul about the place. The whole family has been sent out for a walk or locked up in the cellars. This strikes you as odd until you come to think the matter out. The modern man and woman is not artistic. I am not artistic--not what I call really artistic. I don't go well with Gobelin tapestry and warming-pans. I feel I don't. Robina is not artistic, not in that sense. I tried her once with a harpsichord I picked up cheap in Wardour Street, and a reproduction of a Roman stool. The thing was an utter failure. A cottage piano, with a photo-frame and a fern upon, it is what the soul cries out for in connection with Robina. Dick is not artistic.

Dick does not go with peacocks' feathers and guitars. I can see Dick with a single peacock's feather at St. Giles's Fair, when the bulldogs are not looking; but the decorative panel of peacock's feathers is too much for him. I can imagine him with a banjo--but a guitar decorated with pink ribbons! To begin with he is not dressed for it. Unless a family be prepared to make themselves up as troubadours or cavaliers and to talk blank verse, I don't see how they can expect to be happy living in these fifteenth-century houses.

The modern family--the old man in baggy trousers and a frock-coat he could not button if he tried to; the mother of figure distinctly Victorian; the boys in flannel suits and collars up to their ears; the girls in motor caps--are as incongruous in these mediaeval dwellings as a party of Cook's tourists drinking bottled beer in the streets of Pompeii.

The designer of "The Artistic Home" is right in keeping to still life. In the artistic home--to paraphrase Dr. Watts--every prospect pleases and only man is inartistic. In the picture, the artistic bedroom, "in apple green, the bedstead of cherry-wood, with a touch of turkey-red throughout the draperies," is charming. It need hardly be said the bed is empty. Put a man or woman in that cherry-wood bed--I don't care how artistic they may think themselves--the charm would be gone. The really artistic party, one supposes, has a little room behind, where he sleeps and dresses himself. He peeps in at the door of this artistic bedroom, maybe occasionally enters to change the roses.

Imagine the artistic nursery five minutes after the real child had been let loose in it. I know a lady who once spent hundreds of pounds on an artistic nursery. She showed it to her friends with pride. The children were allowed in there on Sunday afternoons. I did an equally silly thing myself not long ago. Lured by a furniture catalogue, I started Robina in a boudoir. I gave it to her as a birthday-present. We have both regretted it ever since. Robina reckons she could have had a bicycle, a diamond bracelet, and a mandoline, and I should have saved money. I did the thing well. I told the furniture people I wanted it just as it stood in the picture: "Design for bedroom and boudoir combined, suitable for young girl, in teak, with sparrow blue hangings." We had everything: the antique fire arrangements that a vestal virgin might possibly have understood; the candlesticks, that were pictures in themselves, until we tried to put candles in them; the book-case and writing-desk combined, that wasn't big enough to write on, and out of which it was impossible to get a book until you had abandoned the idea of writing and had closed the cover; the enclosed washstand, that shut down and looked like an old bureau, with the inevitable bowl of flowers upon it that had to be taken off and put on the floor whenever you wanted to use the thing as a washstand; the toilet-table, with its cunning little glass, just big enough to see your nose in; the bedstead, hidden away behind the "thinking corner," where the girl couldn't get at it to make it. A prettier room you could not have imagined, till Robina started sleeping in it. I think she tried. Girl friends of hers, to whom she had bragged about it, would drop in and ask to be allowed to see it. Robina would say, "Wait a minute," and would run up and slam the door; and we would hear her for the next half-hour or so rushing round opening and shutting drawers and dragging things about. By the time it was a boudoir again she was exhausted and irritable. She wants now to give it up to Veronica, but Veronica objects to the position, which is between the bathroom and my study.

Her idea is a room more removed, where she would be able to shut herself in and do her work, as she explains, without fear of interruption.

Young Bute told me that a friend of his, a well-to-do young fellow, who lived in Piccadilly, had had the whim to make his flat the reproduction of a Roman villa. There were of course no fires, the rooms were warmed by hot air from the kitchen. They had a cheerless aspect on a November afternoon, and nobody knew exactly where to sit.