In Ambrose's mind in the after years the stout notebook was dear, perhaps as a substitute for that aroma of the past in a phial which he has declared so desirable an invention. It stood, not so much for what was written in it as for the place and the circumstances in which it was written. It recalled Little Russell Row and Nelly, and the evenings at the Château de Chinon, where, night by night, they served still stranger, more delicious meats, and the red wine revealed more clearly its high celestial origin. One evening was diversified by an odd encounter.
A middle-aged man, sitting at an adjoining table, was evidently in want of matches, and Ambrose handed his box with the sympathetic smile which one smoker gives to another in such cases. The man—he had a black moustache and a small, pointed beard—thanked him in fluent English with a French accent, and they began to talk of casual things, veering, by degrees, in the direction of the arts. The Frenchman smiled at Meyrick's enthusiasm.
"What a life you have before you!" he said. "Don't you know that the populace always hates the artist—and kills him if it can? You are an artist and mystic, too. What a fate!
"Yes; but it is that applause, that réclame that comes after the artist is dead," he went on, replying to some objection of Ambrose's; "it is that which is the worst cruelty of all. It is fine for Burns, is it not, that his stupid compatriots have not ceased to utter follies about him for the last eighty years? Scotchmen? But they should be ashamed to speak his name! And Keats, and how many others in my country and in yours and in all countries? The imbeciles are not content to calumniate, to persecute, to make wretched the artist in his lifetime. They follow him with their praise to the grave—the grave that they have digged! Praise of the populace! Praise of a race of pigs! For, you see, while they are insulting the dead with their compliments they are at the same time insulting the living with their abuse."
He dropped into silence; from his expression he seemed to be cursing "the populace" with oaths too frightful to be uttered. He rose suddenly and turned to Ambrose.
"Artist—and mystic. Yes. You will probably be crucified. Good evening ... and a fine martyrdom to you!"
He was gone with a charming smile and a delightful bow to "Madame." Ambrose looked after him with a puzzled face; his last words had called up some memory that he could not capture; and then suddenly he recollected the old, ragged Irish fiddler, the player of strange fantasies under the tree in the outskirts of Lupton. He thought of his phrase about "red martyrdom"; it was an odd coincidence.
IV
The phrases kept recurring to his mind after they had gone out, and as they wandered through the lighted streets with all their strange and variegated show, with glittering windows and glittering lamps, with the ebb and flow of faces, the voices and the laughter, the surging crowds about the theatre doors, the flashing hansoms and the omnibuses lumbering heavily along to strange regions, such as Turnham Green and Castlenau, Cricklewood and Stoke Newington—why, they were as unknown as cities in Cathay!
It was a dim, hot night; all the great city smoked as with a mist, and a tawny moon rose through films of cloud far in the vista of the east. Ambrose thought with a sudden recollection that the moon, that world of splendour, was shining in a farther land, on the coast of the wild rocks, on the heaving sea, on the faery apple-garths in Avalon, where, though the apples are always golden, yet the blossoms of enchantment never fade, but hang for ever against the sky.
They were passing a half-lit street, and these dreams were broken by the sudden clanging, rattling music of a piano-organ. For a moment they saw the shadowy figures of the children as they flitted to and fro, dancing odd measures in the rhythm of the tune. Then they came into a long, narrow way with a church spire in the distance, and near the church they passed the "church-shop"—Roman, evidently, from the subjects and the treatment of the works of art on view. But it was strange! In the middle of the window was a crude, glaring statue of some saint. He was in bright red robes, sprinkled with golden stars; the blood rained down from a wound in his forehead, and with one hand he drew the scarlet vestment aside and pointed to the dreadful gash above his heart, and from this, again, the bloody drops fell thick. The colours stared and shrieked, and yet, through the bad, cheap art there seemed to shine a rapture that was very near to beauty; the thing expressed was so great that it had to a certain extent overcome the villainy of the expression.
They wandered vaguely, after their custom. Ambrose was silent; he was thinking of Avalon and "Red Martyrdom" and the Frenchman's parting salutation, of the vision in one of the old books, "the Man clothed in a robe redder and more shining than burning fire, and his feet and his hands and his face were of a like flame, and five angels in fiery vesture stood about him, and at the feet of the Man the ground was covered with a ruddy dew."
They passed under an old church tower that rose white in the moonlight above them. The air had cleared, the mist had floated away, and now the sky glowed violet, and the white stones of the classic spirit shone on high. From it there came suddenly a tumult of glad sound, exultant bells in ever-changing order, pealing out as if to honour some great victory, so that the mirth of the street below became but a trivial restless noise. He thought of some passage that he had read but could not distinctly remember: a ship was coming back to its haven after a weary and tempestuous voyage over many dreadful seas, and those on board saw the tumult in the city as their sails were sighted; heard afar the shouts of gladness from the rejoicing people; heard the bells from all the spires and towers break suddenly into triumphant chorus, sounding high above the washing of the waves.
Ambrose roused himself from his dreams. They had been walking in a circle and had returned almost to the street of the Château, though, their knowledge of the district being of an unscientific character, they were under the impression that they were a mile or so away from that particular point. As it happened, they had not entered this street before, and they were charmed at the sudden appearance of stained glass lighted up from within. The colour was rich and good; there were flourished scrolls and grotesques in the Renaissance manner, many emblazoned shields in ruby and gold and azure; and the centre-piece showed the Court of the Beer King—a jovial and venerable figure attended by a host of dwarfs and kobolds, all holding on high enormous mugs of beer. They went in boldly and were glad. It was the famous "Three Kings" in its golden and unreformed days, but this they knew not. The room was of moderate size, very low, with great dark beams in the white ceiling. White were the walls; on the plaster, black-letter texts with vermilion initials praised the drinker's art, and more kobolds, in black and red, loomed oddly in unsuspected corners. The lighting, presumably, was gas, but all that was visible were great antique lanterns depending from iron hooks, and through their dull green glass only a dim radiance fell upon the heavy oak tables and the drinkers. From the middle beam an enormous bouquet of fresh hops hung on high; there was a subdued murmur of talk, and now and then the clatter of the lid of a mug, as fresh beer was ordered. In one corner there was a kind of bar; behind it a couple of grim women—the kobolds apparently—performed their office; and above, on a sort of rack, hung mugs and tankards of all sizes and of all fantasies. There were plain mugs of creamy earthenware, mugs gaudily and oddly painted with garlanded goats, with hunting scenes, with towering castles, with flaming posies of flowers. Then some friend of the drunken, some sage who had pried curiously into the secrets of thirst, had made a series of wonders in glass, so shining and crystalline that to behold them was as if one looked into a well, for every glitter of the facets gave promise of satisfaction. There were the mugs, capacious and very deep, crowned for the most part not with mere plain lids of common use and make, but with tall spires in pewter, richly ornamented, evident survivals from the Middle Ages. Ambrose's eyes glistened; the place was altogether as he would have designed it. Nelly, too, was glad to sit down, for they had walked longer than usual. She was refreshed by a glass of some cool drink with a borage flower and a cherry