Sleep, Pale Sister (2 page)
My main problem was finding suitable models, for I had few friends in London and, after a most embarrassing experience near the Haymarket, did not dare to approach likely females with offers of work. I had no interest in painting men: I found more poetry in the female form, and a certain type of female form at that. I advertised in
The Times
, but found that from twenty or so applicants only one or two were even passably handsome, and that none of them could be termed ‘respectable’ women. As long as they didn’t open their vulgar mouths I did not complain, however, which is why, when I look back at some of my earlier works, I find it hard to trust my memory, recollecting that sweet-faced
Juliet
had an illegitimate child or innocent
Cinderella
an addiction to the gin-bottle. I learned more about women in those days than I ever wished to know. In spite of their pretty faces, listening to their conversations, their lewdness, their unclean thoughts, I despised them.
Several of them tried their cheap seductions upon me, but at that time the serpent within me was well under control: I went to church every Sunday, painted at my studio during the day and relaxed at a respectable club in the evenings. I had a small circle of acquaintances, but found little need for company. After all, I had my art. I even fancied that women had no power over me, that I had finally conquered the stirrings of my sinful flesh. Such conceit is the wheel upon which God breaks sinners; but time runs on a short leash, and I must skim over three more years to a time when I was just thirty-three, to the clear autumn day when I met my nemesis.
I had been painting children for some time: it was always easy to find a beautiful child whose mother was willing to spare her for a few hours a day. I paid them a shilling an hour, and it was more than some of these women themselves earned. Thus I was walking in the park as I often did when I happened to catch sight of a woman and a child: the woman a dowdy customer in black, the child a little girl of about ten with such unusual and striking features that I stopped to stare after her.
She was a thin child, wrapped in an ugly black cape which looked like someone else’s hand-me-down, but she moved with a grace unusual in one of her age, and her hair was a most troubling colour, a shade closer to white than gold, so that for an instant she looked like a little old crone, some changeling among the happy, rosy children around her. Her face was pointed and almost colourless but for her large, deep eyes; her lips were full for a child’s, but pale; her expression quaintly tragic.
I knew instantly that I had to have her as my model: there was an infinite promise of expression in her face; each movement was a masterpiece of definition. Looking at her I knew that child would be my salvation; her innocence moved me as much as her spectral beauty, and there were tears in my eyes as I ran towards the couple. For a moment my heart was too full for me to speak.
The girl’s name was Effie; the dowdy woman was her aunt. She lived with her aunt and her mother above a little milliner’s shop in Cranbourn Alley and they were of a respectable type: the mother, Mrs Shelbeck, was a widow, living in straitened circumstances. A shrill, annoying woman, I later found, with none of her daughter’s striking looks, and my offer of a shilling an hour was accepted without any of the modesty and reserve usually exhibited by genteel families. I suspect that if I had offered half the sum it would have been accepted with equal alacrity—as it was, I would have gladly offered double.
Effie came to my studio—respectably accompanied by the aunt—that very week, and I spent a whole morning simply drawing the child from various angles: profile, three-quarter, full-face, head high, head to one side…each more enchanting than the last. She was a perfect model: she did not shuffle and fidget as did other children, nor did she chatter or smile. She seemed overawed by the studio and by me, studying me covertly with an expression of respectful wonder. She came again; after the third time the aunt ceased to come with her.
My first painting of her was called
My Sister’s Sleep
, from the Rossetti poem, and it took two months to complete: only a small canvas, but I flattered myself that I had caught the look of Effie. I painted her lying on a little narrow bed such as children use, a cross on the white wall above her and a vase of holly on the bedstand beside her, the family’s concession to the Christmas spirit. Her brother was sitting on the floor beside the bed, his head buried in the coverlet, and her mother, in black, was standing at the foot of the bed with her face in her hands. The painting focused on Effie; the other figures were faceless and dark-clad, but she was all in white, wearing a ruffled nightdress I had bought for the painting, her hair spread out on the pillow all around her. Her arms were bare, one hanging limply by her side, the other tucked childishly under her cheek. The light from the window transfigured her, promising redemption in death, the purity of the innocent who dies young. It was a theme close to my heart and I was to repeat it many times in the next seven years. Sometimes I was reluctant to let her go home in the evenings for she was growing so fast that I was afraid to lose even an hour of her company.
Effie never spoke a great deal: she was a quiet little thing, untouched by the conceit and vanity exhibited by other girls of the same age. She read avidly—especially poetry, Tennyson, Keats, Byron, Shakespeare—hardly any of it suitable for a child, although her mother seemed to pay little attention to the fact. I ventured to point this out to Effie one day and was pleased to find her properly attentive to my advice. I told her that poetry, although unexceptionable reading for, say, a young man, was rather too difficult for a susceptible young girl. The subject matter was too frequently indelicate, the passions too violent. I offered to lend her some good, improving books, and was delighted when she read them dutifully. There was no wilfulness in her: she seemed created to embody all the feminine virtues without any of the perversity of that sex.
I had never wanted to be a bachelor, but my mistrust of women, born of my professional contact with them, had led me to doubt whether I would ever find St Paul’s ‘one in a thousand’, who is virtuous and obedient. However, as I saw more of Effie, as I was charmed by her beauty and her sweet ways, I realized that, after all, there was a way to achieve that ideal.
There was no taint on Effie: she was absolutely pure. If I could nurture her qualities, if I could keep a fatherly eye on her development, I was certain that I could make of her something rare, something wonderful. I would protect her from the rest of the world, educate her to be my equal. I would mould her, then, the work done…as I formulated the idea my mind threw back at me the memory of a small boy in a room full of forbidden marvels, and that fleeting, nostalgic scent of jasmine seemed to fill the air. For the first time the image brought no accompanying twist of guilt: Effie’s purity would redeem me, I knew it. There was nothing worldly, nothing sensual about her; hers was the cool indifference of the true innocent. Through her I would find salvation.
I engaged private tutors for her—I wanted her to have as little contact with other children as possible—I bought her clothes and books. I employed a respectable housekeeper for her mother and aunt so that Effie would not have to waste time helping around the house. I befriended her tedious mother so that I should have the excuse to frequent Cranbourn Alley and I kept the money flowing in.
I was painting Effie almost incessantly now, abandoning all my other models unless they were needed as secondaries in a canvas. I concentrated upon Effie: Effie at twelve, taller, in the pretty white dresses and blue sashes I encouraged her mother to buy; Effie at thirteen, fourteen, her dancer’s figure as graceful as a colt’s; at fifteen, her eyes and lips darkening, her face taking a more adult shape; at sixteen, her pale hair bound up in a tidy coronet around her brow, her mouth the tenderest of arcs, her lovely rain-coloured eyes heavy-lidded, the skin around them so fine that it seemed almost bruised.
I must have drawn or painted Effie a hundred times: she was Cinderella, she was Mary, she was the young novice in
The Passion-Flower,
she was Beatrice in Heaven, Juliet in the tomb, draped with lilies and trailing convolvulus for
Ophelia
, in rags for
The Little Beggar Girl
. My final portrait of her at that time was
The Sleeping Beauty
, so like
My Sister’s Sleep
in composition, showing Effie all in white again, like a bride or a novice, lying on the same little girl’s bed, her hair, much longer than it had been when she was ten—I had always urged her never to cut it—trailing on to the floor, where a century’s worth of dust lingers. Sunlight filters through the skylight on to the floor, and tendrils of ivy have begun to drop through the window into the room. A skeleton in armour, twined all over with the encroaching ivy, warns of the perils of disturbing the sleeping innocent. Effie’s face is turned towards the light; she smiles in her sleep, unaware of the desolation around her.
I could wait no longer. I had woven the enchantment which had kept her waiting for me all these years: now was the time to break it. She was still very young, I knew, but to wait another year might be to risk losing her for ever.
Her mother did not even seem surprised that I should want to marry her daughter. Indeed, the eagerness with which she welcomed the offer made me suspect that she had already envisaged the possibility. I was a rich man, after all: it was certain that if Effie married me I would be obliged to help her relatives, and I was almost forty while Effie was seventeen. When I died, all my fortune would be hers. The maiden aunt—a sour-mannered creature whose only redeeming feature was an overpowering devotion to Effie—disapproved. Effie was too young, she said, too sensitive. She did not understand what would be required of her when we were married. I did not care about her objections. Effie was my only concern. She was mine: trained to grow along me like ivy on the trunk of an oak.
She married me in the same antique embroidered dress she had worn for the
Sleeping Beauty.
‘This I say then,
Walk in the Spirit, and ye shall not fulfil the lust of the flesh.
For the flesh lusteth against the Spirit, and the Spirit against the flesh: and these are contrary the one to the other: so that ye cannot do the things that ye would.
But if ye be led of the Spirit, ye are not under the law.
Now the works of the flesh are manifest, which are these; Adultery, fornication, uncleanness, lasciviousness,
Idolatry, witchcraft, hatred…’
The black caravan
of his words lurched onwards, and I was glad I had taken laudanum before the service. My migraine was quite gone, leaving in its place a cool dark cavity into which all my thoughts receded, remote as stars.
‘“
wrath, strife, sedition,
heresies…”’
In my own
quiet space I smiled to myself.
The rhythm of the verses was cruel, but poetry nevertheless, compelling as the pagan lilt of the skipping-songs I sang in the street all those years ago, in the days before I married Mr Chester:
The higher we jump
The higher they’ll grow.
Around and around and around we go.
Remembering the song
I felt suddenly sick at heart at the terrible remoteness of that lost time when Mother was well, and Father alive and we used to read poems together in the library of our old house, before Cranbourn Alley; a time when going to church was an occasion to celebrate, to sing and be happy. My hands clenched abruptly as the sick feeling intensified, and I bit down on my lip to quell my faintness. William, sitting to my left, gave me his rueful grin, but I kept my face lowered; Mr Chester would not like me to smile in church. Over the minister’s head the sunlight illuminated St Sebastian, shot with arrows.
The higher we jump…
St Sebastian’s face
was cool and passive, like Henry’s.
Suddenly I was falling, pinwheeling my arms in panic, my mouth open in a great silent O of terror…but I was falling
upwards
, towards the high vault of the church ceiling, and I could see the gilt paint and the scrollwork and the cold gleam of St Sebastian’s eyes…As my fall slowed I looked dizzily on to the bowed heads of the congregation, my terror giving way to awe and euphoria. How could I be here? Had I died and left my body without realizing it? Was I dreaming? I skipped and danced in the air, whooping as I spun around the bald head of the minister like an angel on the head of a pin. No-one heard me.
Testing my new-found ability, I swooped invisibly over the tide of dark heads, realizing as I did so that my vision and hearing were sharper than ever before, each detail a miracle of precision. I could actually
see
the minister’s words mounting heavenwards like smoke from a factory chimney. I could see the gloom of the congregation, occasionally broken by the clear beam of a child’s inattention; looking closely I found that somehow I could see right
into
people; I could see their essence like sunlight through stained-glass. Behind a mask of flesh, an old woman with a sour face and a sharp tongue blossomed with a spectral radiance; a child radiated simple joy; a young, dark-haired woman was a terrifying pit of blackness and death. What I saw in the dark-haired woman chilled me, and I sped upwards as fast as I could.
From the vault I inspected my own discarded body; pale little face lost in the dark hollow of my bonnet, lips white, eyelids closed and blue as bruises. I was inclined to feel contempt at myself; such a thin little slip of a thing. Better to watch Mr Chester with his stern, handsome face, or William, his fair hair hanging over his eyes.
‘Marta!’
The voice rang out across the chapel; I looked curiously, but the rest of the congregation failed to react.
‘Marta!’ The call was peremptory this time, but the minister did not halt once in his delivery. Only
I
heard. Looking down, I could see nothing but bowed heads and crossed hands.
At the very back of the chapel stood a woman, her face tilted upwards at an attentive angle. I had time to glimpse a face, a wealth of brassy curls beneath a frivolous gold hat, then I heard someone call my name.
‘Effie!’ William had turned towards my lifeless body and, perceiving me to be in a deep faint, was engaged in untying my bonnet-strings. Disembodied, I watched him with some amusement as he fumbled for smelling-salts in my purse. Dear William! So clumsy and sincere. So unlike his brother.
Henry stood up too, causing a ripple of interest to run down the line of people sitting in the pew, his mouth set in a harsh line. He said nothing, but lifted me into a standing position and, followed by William, began to propel me down the aisle. A few people stared after the group, but others simply smiled indulgently at each other and returned their attention to the sermon. In Mrs Chester’s condition, after all, fainting was hardly abnormal.
The higher we jump…
I suddenly felt unaccountably dizzy; meeting the eyes of poor arrow-shot St Sebastian again I became aware of a sick, spinning sensation in the pit of my stomach, something like falling. Around and around and around…
I realized what was happening and fought it vainly.
‘I don’t want to go back!’ my mind protested. ‘Don’t want to…’
In the instant I fell I dimly remembered meeting the eyes of the woman in the gold hat. I saw her lips moving, mouthing the unfamiliar name ‘
Marta
’…Then there was blackness.
Henry’s face glowered over me as his hands moved to loosen the fastenings of my bodice and, as I drifted between dream and consciousness, I had time to appreciate the purity of the clear planes of his face, the straight brows and appraising eyes, his hair rather darker than that of his brother and cropped severely short. William was hovering uncertainly in the background. As he saw my eyes open he jumped forwards with the smelling-salts.
‘Effie? Are you—’
Henry turned on him in a cold fury. ‘Don’t stand there like a fool!’ he snapped. ‘Go and call a hack. Hurry up!’ William went, with a last glance over his shoulder at me. ‘That boy thinks far too much of you,’ added Henry. ‘And he shows it…’ He broke off. ‘Can you stand now?’
I nodded.
‘Is it the child?’
‘I don’t think so.’ It did not occur to me to tell him about my strangeness in the church; I knew from experience how much my ‘fanciful notions’ annoyed him.
I tried to climb into the carriage; for an instant nausea overwhelmed me again and I almost fell. Henry put his arm around me, hoisting me easily in and up; but glancing sideways at his tense profile I guessed his disgust, his fear. In that instant I half realized that he was
afraid
of me, sensed the depth of his turmoil, but the intuition faded almost before I could comprehend it as I felt myself swoon again.