It is a good rule in life never to apologize. The right sort of people do not want apologies, and the wrong sort take a mean advantage of them. Sellers belonged to the latter class. When Annette, meek, penitent, with all her claws sheathed, came to him and grovelled, he forgave her with a repulsive magnanimity which in a less subdued mood would have stung her to renewed pugnacity. As it was, she allowed herself to be forgiven, and retired with a dismal conviction that from now on he would be more insufferable than ever.
Her surmise proved absolutely correct. His visits to the newcomer's studio began again, and Beverley's picture, now nearing completion, came in for criticism enough to have filled a volume. The good humour with which he received it amazed Annette. She had no proprietary interest in the painting beyond what she acquired from a growing regard for its parent (which disturbed her a good deal when she had time to think of it); but there were moments when only the recollection of her remorse for her previous outbreak kept her from rending the critic. Beverley, however, appeared to have no artistic sensitiveness whatsoever. When Sellers savaged the cat in a manner which should have brought the S.P.C.A. down upon him, Beverley merely beamed. His long-sufferingness was beyond Annette's comprehension.
She began to admire him for it.
To make his position as critic still more impregnable, Sellers was now able to speak as one having authority. After years of floundering, his luck seemed at last to have turned. His pictures, which for months had lain at an agent's, careened like crippled battleships, had at length begun to find a market. Within the past two weeks three landscapes and an allegorical painting had sold for good prices; and under the influence of success he expanded like an opening floweret. When Epstein, the agent, wrote to say that the allegory had been purchased by a Glasgow plutocrat of the name of Bates for one hundred and sixty guineas, Sellers' views on Philistines and their crass materialism and lack of taste underwent a marked modification. He spoke with some friendliness of the man Bates.
'To me,' said Beverley, when informed of the event by Annette, 'the matter has a deeper significance. It proves that Glasgow has at last produced a sober man. No drinker would have dared face that allegory. The whole business is very gratifying.'
Beverley himself was progressing slowly in the field of Art. He had finished the 'Child and Cat', and had taken it to Epstein together with a letter of introduction from Sellers. Sellers' habitual attitude now was that of the kindly celebrity who has arrived and wishes to give the youngsters a chance.
Since its departure Beverley had not done much in the way of actual execution. Whenever Annette came to his studio he was either sitting in a chair with his feet on the window-sill, smoking, or in the same attitude listening to Sellers' views on art. Sellers being on the upgrade, a man with many pounds to his credit in the bank, had more leisure now. He had given up his advertisement work, and was planning a great canvas—another allegorical work. This left him free to devote a good deal of time to Beverley, and he did so. Beverley sat and smoked through his harangues. He may have been listening, or he may not. Annette listened once or twice, and the experience had the effect of sending her to Beverley, quivering with indignation.
'Why do you let him patronize you like that?' she demanded. 'If anybody came and talked to me like that about my music, I'd—I'd—I don't know what I'd do. Yes, even if he were really a great musician.'
'Don't you consider Sellers a great artist, then, even now?'
'He seems to be able to sell his pictures, so I suppose they must be good; but nothing could give him the right to patronize you as he does.'
'"My learned friend's manner would be intolerable in an emperor to a black-beetle,"' quoted Beverley. 'Well, what are we going to do about it?'
'If only you could sell a picture, too!'
'Ah! Well, I've done my part of the contract. I've delivered the goods. There the thing is at Epstein's. The public can't blame me if it doesn't sell. All they've got to do is to waltz in in their thousands and fight for it. And, by the way, talking of waltzes—'
'Oh, it's finished,' said Annette, dispiritedly. 'Published too, for that matter.'
'Published! What's the matter, then? Why this drooping sadness? Why aren't you running around the square, singing like a bird?'
'Because,' said Annette, 'unfortunately, I had to pay the expenses of publication. It was only five pounds, but the sales haven't caught up with that yet. If they ever do, perhaps there'll be a new edition.'
'And will you have to pay for that?'
'No. The publishers would.'
'Who are they?'
'Grusczinsky and Buchterkirch.'
'Heavens, then what are you worrying about? The thing's a cert. A man with a name like Grusczinsky could sell a dozen editions by himself. Helped and inspired by Buchterkirch, he will make the waltz the talk of the country. Infants will croon it in their cots.'
'He didn't seem to think so when I saw him last.'
'Of course not. He doesn't know his own power. Grusczinsky's shrinking diffidence is a by-word in musical circles. He is the genuine Human Violet. You must give him time.'
'I'll give him anything if he'll only sell an edition or two,' said Annette.
The outstanding thing was that he did. There seemed no particular reason why the sale of that waltz should not have been as small and as slow as that of any other waltz by an unknown composer. But almost without warning it expanded from a trickle into a flood. Grusczinsky, beaming paternally whenever Annette entered the shop—which was often—announced two new editions in a week. Beverley, his artistic growth still under a watchful eye of Sellers, said he had never had any doubts as to the success of the thing from the moment when a single phrase in it had so carried him away that he had been compelled to stamp his applause enthusiastically on the floor. Even Sellers forgot his own triumphs long enough to allow him to offer affable congratulations. And money came rolling in, smoothing the path of life.
Those were great days. There was a hat …
Life, in short, was very full and splendid. There was, indeed, but one thing which kept it from being perfect. The usual drawback to success is that it annoys one's friends so; but in Annette's case this drawback was absent. Sellers' demeanour towards her was that of an old-established inmate welcoming a novice into the Hall of Fame. Her pupils—worthy souls, though bone-headed—fawned upon her. Beverley seemed more pleased than anyone. Yet it was Beverley who prevented her paradise from being complete. Successful herself, she wanted all her friends to be successful; but Beverley, to her discomfort, remained a cheery failure, and worse, absolutely refused to snub Sellers. It was not as if Sellers' advice and comments were disinterested. Beverley was simply the instrument on which he played his songs of triumph. It distressed Annette to such an extent that now, if she went upstairs and heard Sellers' voice in the studio, she came down again without knocking.
One afternoon, sitting in her room, she heard the telephone-bell ring.
The telephone was on the stairs, just outside her door. She went out and took up the receiver.
'Halloa!' said a querulous voice. 'Is Mr Beverley there?'
Annette remembered having heard him go out. She could always tell his footstep.
'He is out,' she said. 'Is there any message?'
'Yes,' said the voice, emphatically. 'Tell him that Rupert Morrison rang up to ask what he was to do with all this great stack of music that's arrived. Does he want it forwarded on to him, or what?' The voice was growing high and excited. Evidently Mr Morrison was in a state of nervous tension when a man does not care particularly who hears his troubles so long as he unburdens himself of them to someone.