Engaged in present study she forgot her original purpose, noting the salient points of a fresh type, enumerating details that formed the composite whole. A strong hand that could in its strength be merciless—could it equally in its strength be merciful? The strange thought came unexpectedly as she watched the thin stem of the wineglass turning rapidly and then more slowly until, with a little tinkle, it snapped as the hand clenched suddenly, the knuckles showing white through the tanned skin. Gillian drew a quick breath. Had she been the cause of the mishap—had she stared noticeably, and he been angry at an impertinence? Her cheeks burned and in a misery of shyness she forced her eyes to his face. Her contrition was needless. Heedless of her he was looking at the splintered glass between his fingers with a faint expression of surprise, as if his wandering thoughts were but half recalled by the accident. For a moment he stared at the shattered pieces—then laid them down indifferently.
Gillian smothered an hysterical inclination to laugh. He was so totally negligent of her presence that even this little incident had failed to make him sensible of her scrutiny. Immersed in his thoughts he was very obviously miles away from Craven Towers and the vicinity of a troublesome ward. And suddenly it hurt. She was nothing to him but a shy gauche girl whose very existence was an embarrassment. The determination so bravely formed died before his cold detachment. More than ever was speech impossible.
She shrugged faintly with a little pout. So, confident of his preoccupation, she continued to study him. Had the homecoming intensified the sadness of his eyes and deepened the lines about his mouth?—were memories of the mother he had adored sharpening tonight the look of suffering on his face? Or was her imagination, over-excited, exaggerating what she saw and fancying a great sorrow where there was only boredom? She pondered, and had almost concluded that the latter was the saner explanation when—watching—she saw a sudden spasm cross his face of such agony that she caught her lip fiercely between her teeth to stifle an exclamation. In the fleeting expression of a moment she had seen the revelation of a soul in torment. She looked away hastily, feeling dismayed at having trespassed. She had discovered a secret wound. She sat tense, and a quick fear came lest the others might have also seen. She glanced at them furtively. But the argument was still unsettled, the tablecloth between them scored and creased with conflicting sketches. She drew a sharp little sigh of relief. Only she had noticed, and she did not matter. For a few moments her thoughts ran riot until she pulled them up frowningly. It was no business of hers—she had no right even to speculate on his affairs. Angry with herself she turned for distraction to the portraits on the walls—they at least would offer no disturbing problem. But her determination to keep her thoughts from her guardian met with a check at the outset for she found herself staring at Barry Craven as she had visualised him in that first moment of meeting—steel-clad. It was the picture of a young man, dressed in the style of the Elizabethan period, wearing a light inlaid cuirass and leaning negligently against a stone balustrade, a hooded falcon on his wrist. The resemblance to the owner of Craven Towers was remarkable—the same build, the same haughty carriage of the head, the same features and colouring; the mouth only of the painted gallant differed, for the lips were not set sternly but curved in a singularly winning smile. The portrait had recently been cleaned and the colours stood out freshly. The pose of the figure was curiously unrestrained for the period, a suggestion of energy—barely concealed by the indolent attitude—broke through the conventional treatment of the time, as if the painter had responded to an influence that had overcome tradition. The whole body seemed to pulsate with life. Gillian looked at it entranced; instinctively her eyes sought the pictured hands. The one that held the falcon was covered with an embroidered leather glove, but the other was bare, holding a set of jesses. And even the hands were similar, the characteristics faithfully transmitted. Peters’ voice startled her. “You are looking at the first Barry Craven, Miss Locke. It is a wonderful picture. The resemblance is extraordinary, is it not?”
She looked up and met the agent’s magnetic smile across the table.
“It is—extraordinary,” she said slowly; “it might be a costume portrait of Mr. Craven, except that in treatment the picture is so different from a modern painting.”
Peters laughed.
“The professional eye, Miss Locke! But I am glad that you admit the likeness. I should have quarrelled horribly with you if you had failed to see it. The young man in the picture,” he went on, warming to the subject as he saw the girl’s interest, “was one of the most romantic personages of his time. He lived in the reign of Elizabeth and was poet, sculptor, and musician—there are two volumes of his verse in the library and the marble Hermes in the hall is his work. When he was seventeen he left the Towers to go to court. He seems to have been universally beloved, judging from various letters that have come down to us. He was a close friend of Sir Philip Sidney and one of Spenser’s numerous patrons. A special favourite with Elizabeth—in fact her partiality seems to have been a source of some embarrassment, according to entries in his private journal. She knighted him for no particular reason that has ever transpired, indeed it seems to have been a matter of surprise to himself, for he records it in his journal thus:
“‘—dubbed knight this day by Gloriana. God He knoweth why, but not I.’ He was an idealist and visionary, with the power of putting his thoughts into words—his love poems are the most beautiful I have ever read, but they are quite impersonal. There is no evidence that his love was ever given to any ‘faire ladye.’ No woman’s name was ever connected with his, and from his detached attitude towards the tender passion he earned, in a fantastical court, the euphuistic appellation of L’amant d’ Amour. Quite suddenly, after ten years in the queen’s household, he fitted out an expedition to America. He gave no reason. Distaste for the artificial existence prevailing at Court, sorrow at the death of his friend Sidney, or a wander-hunger fed on the tales brought home by the numerous merchant adventurers may have been the cause of this surprising step. His decision provoked dismay among his friends and brought a furious tirade from Elizabeth who commanded him to remain near her. But in spite of royal oaths and entreaties—more of the former than the latter—he sailed to Virginia on a land expedition. Two letters came from him during the next few years, but after that—silence. His fate is not known. He was the first of many Cravens to vanish into oblivion searching for new lands.” The pleasant voice hesitated and dropped to a lower, more serious note. And Gillian was puzzled at the sudden anxiety that clouded the agent’s smiling blue eyes. She had listened with eager interest. It was history brought close and made alive in its intimate connection with the house. The dream castle was more wonderful even than she had thought. She smiled her thanks at Peters, and drew a long breath.
“I like that,” and looking at the picture again, “the Lover of Love!” she repeated softly; “it’s a very beautiful idea.”
“A very unsatisfactory one for any poor soul who may have been fool enough to lose her heart to him.” Miss Craven’s voice was caustic.