VIII

For years Bedford Park was a romantic excitement. At North End my father had announced at breakfast that our glass chandelier was absurd and was to be taken down, and a little later he described the village Norman Shaw was building. I had thought he said, “there is to be a wall round and no newspapers to be allowed in.” And when I had told him how put out I was at finding neither wall nor gate, he explained that he had merely described what ought to be. We were to see De Morgan tiles, peacock-blue doors and the pomegranate pattern and the tulip pattern of Morris, and to discover that we had always hated doors painted with imitation grain and the roses of mid-Victoria, and tiles covered with geometrical patterns that seemed to have been shaken out of a muddy kaleidoscope. We went to live in a house like those we had seen in pictures and even met people dressed like people in the storybooks. The streets were not straight and dull as at North End, but wound about where there was a big tree or for the mere pleasure of winding, and there were wood palings instead of iron railings. The newness of everything, the empty houses where we played at hide-and-seek, and the strangeness of it all, made us feel that we were living among toys. We could imagine people living happy lives as we thought people did long ago when the poor were picturesque and the master of a house would tell of strange adventures over the sea. Only the better houses had been built. The commercial builder had not begun to copy and to cheapen, and besides we only knew the most beautiful houses, the houses of artists. My two sisters and my brother and myself had dancing lessons in a low, red-brick and tiled house that drove away dreams, long cherished, of some day living in a house made exactly like a ship’s cabin. The dining-room table, where Sinbad the sailor might have sat, was painted peacock-blue, and the woodwork was all peacock-blue and upstairs there was a window niche so big and high up, there was a flight of steps to go up and down by and a table in the niche. The two sisters of the master of the house, a well-known pre-Raphaelite painter, were our teachers, and they and their old mother were dressed in peacock-blue and in dresses so simply cut that they seemed a part of every story. Once when I had been looking with delight at the old woman, my father who had begun to be influenced by French art, muttered, “imagine dressing up your old mother like that.”

John Butler Yeats
from a watercolour drawing by himself

My father’s friends were painters who had been influenced by the pre-Raphaelite movement but had lost their confidence. Wilson, Page, Nettleship, Potter are the names I remember, and at North End, I remember them most clearly. I often heard one and another say that Rossetti had never mastered his materials, and though Nettleship had already turned lion-painter, my father talked constantly of the designs of his youth, especially of “God creating Evil,” which Browning praised in a letter my father had seen “as the most sublime conception in ancient or modern Art.” In those early days, that he might not be tempted from his work by society, he had made a rent in the tail of his coat; and I have heard my mother tell how she had once sewn it up, but before he came again he had pulled out all the stitches. Potter’s exquisite “Dormouse,” now in the Tate Gallery, hung in our house for years. His dearest friend was a pretty model who was, when my memory begins, working for some position in a board-school. I can remember her sitting at the side of the throne in the North End Studio, a book in her hand and my father hearing her say a Latin lesson. Her face was the typical mild, oval face of the painting of that time, and may indeed have helped in the moulding of an ideal of beauty. I found it the other day drawn in pencil on a blank leaf of a volume of the “Earthly Paradise.” It was at Bedford Park that I had heard Farrar, whom I had first known at Burnham Beeches, tell of Potter’s death and burial. Potter had been very poor and had died from the effects of semi-starvation. He had lived so long on bread and tea that his stomach withered—I am sure that was the word used, and when his relations found out and gave him good food, it was too late. Farrar had been at the funeral and had stood behind some well-to-do people who were close about the grave and saw one point to the model, who had followed the hearse on foot and was now crying at a distance, and say, “that is the woman who had all his money.” She had often begged him to allow her to pay his debts, but he would not have it. Probably his rich friends blamed his poor friends, and they the rich, and I daresay, nobody had known enough to help him. Besides, he had a strange form of dissipation, I had heard someone say; he was devoted to children, and would become interested in some child—his “Dormouse” is a portrait of a child—and spend his money on its education. My sister remembers seeing him paint with a dark glove on his right hand, and his saying that he had used so much varnish the reflection of the hand would have teased him but for the glove. “I will soon have to paint my face some dark colour,” he added. I have no memory, however, but of noticing that he sat at the easel, whereas my father always stands and walks up and down, and that there was dark blue, a colour that always affects me, in the background of his picture. There is a public gallery of Wilson’s work in his native Aberdeen and my sisters have a number of his landscapes—wood-scenes for the most part—painted with phlegm and melancholy, the romantic movement drawing to its latest phase.