THE THIRD WINDOW

BY

ANNE DOUGLAS SEDGWICK
(MRS. BASIL DE SELINCOURT)

[Illustration: colophon]

BOSTON AND NEW YORK
HOUGHTON MIFFLIN COMPANY
The Riverside Press Cambridge
1920

COPYRIGHT, 1920, BY ANNE DOUGLAS DE SELINCOURT

ALL RIGHTS RESERVED

Chapter: I, II, III, IV, V, VI, VII, VIII, IX, X.

THE THIRD WINDOW

I

“I LOVE this window,” said Antonia, walking down the drawing-room; “and this one. They both look over the moors, you see. This view is even lovelier.” She stopped at the end of the long room, and the young man with the pale face and the limping step followed and looked out of the third window with her. “But—I don’t know why—I hate it. I wish it weren’t here.”

Captain Saltonhall looked out and said nothing.

“I wonder if you see what I mean,” said Antonia.

“No; I don’t. I like it.” The young man spoke gently and with something of a drawl, unimpressed, apparently, by her antipathy and putting up the back of a placid forefinger to stroke along the edge of his moustache.

“One gets the hills, peaceful and silvery; one gets the walled garden and the cedar,” she enumerated.

“The little pond with its fountain is as serene as a happy dream. It’s all like a happy dream. Yet—I wish there weren’t this window here.”

“You could wall it up if you don’t like it,” Captain Saltonhall suggested, his eyes, as he stood behind her, turning from the walled garden beneath to fix themselves with a rather sad attentiveness upon the head of the young woman. Her dark hair was near him and the curve of her cheek; he thought that he felt against his the warmth of her shoulder in its thin black dress.

She looked out, motionless, for a little while; then, turning suddenly, as if with impatience of her thoughts, found him so near, and his eyes on hers. She, too, was pale and tall; but all in her was soft, splendid, and almost opulent, while he was sharp-edged and wasted. He looked much the older, though they were of the same age; both, indeed, were very young.

He did not move away as she faced him nor did his look alter. Sad and attentive, it merely remained attached upon her, and if he felt any nervousness it showed itself only in the slight gesture of his forefinger passing meditatively along the edge of his moustache. It was she who spoke. “Well, Bevis?” she said gravely. Her look asked: “Have you anything to tell me?”

“Well, Tony,” he returned. He had, apparently, nothing to say.

She studied him for a moment longer, and then, with an added impatience—if anything so soft could so be called—walking away to an easy-chair before the fire, she said, “You think me very silly, I suppose.”

“Silly? Why?”

“Because of the window. My hating it.”

He came and leaned on the back of her chair, looking across her head up at the mantelpiece where a row of white fritillaries stood in tall crystal glasses, their reflections showing as if through a film of sea-water in the ancient mirror behind them. There had been white fritillaries among the flagged paths of the walled garden, and, finding them again, he recognized that they had been the only things he had felt uncanny there; for he had always felt them wraith-like flowers.

“I think you’d better wall it up, quite seriously, if you really hate it.” He repeated his former suggestion. “It would rather spoil the room. But I wouldn’t, if I were you, live with a discomfort like that—if it’s really a discomfort.”

The young woman beneath him laughed, a little sadly, if lightly. “How you suspect me.”

“Of what, pray?”

“Oh—of unconscious humbug; of unconscious posing. Of induced emotions generally. It’s always been the same.”

“I rather like induced emotions in you,” said Captain Saltonhall. “They suit you. They are like the colour of a pomegranate or the taste of a mulberry or the smell of a branch of flowering hawthorn; something rich, thick, and pleasingly oppressive.”

“Thanks. I don’t take it as a compliment.”

“I don’t mean it as one. I merely said I liked it in you; and if I do it’s only because I’m in love with you.”

He lowered his eyes now from the fritillaries to watch the very faint colour that rose, very slowly, in her cheek. It could hardly be called a response. It was merely an awareness. And after a moment she said, still with her soft impatience: “Do come and sit where I can see you. It’s bad for your leg to stand too long, I’m sure.”

He obeyed her, limping to a chair on the opposite side of the fireplace, laying his hands on either arm as he lowered himself with some little awkwardness. He was not yet accustomed to the complicated mechanical apparatus, the artificial leg, that, always, he felt hang so heavily about his thigh.

Antonia Wellwood’s dark eyes watched him, with solicitude, it seemed, rather than tenderness; though indeed their very shape—the outer corners drooping, a line of white showing under the full iris—expressed a melancholy so sweet that their most casual glance seemed to convey tenderness.

The young people sat then for a little while in silence. Though the spring day was sunny, it was sharp. On a bed of ashes the log-fire burned softly and clearly. The silvery light of the high, Northern sky shone along the polished floor.

The room was modern, like the house, and imaged carefully, but not too carefully for ease, eighteenth-century austerities and graces. The walls were panelled in white; the chintzes were striped in white and citron-colour. In spite of bowls of flowers, books and magazines, a half-knit sock here, its needles transfixing the ball of heather-coloured wool, and the embroidery there, with tangled skeins, it was an impersonal room, an object calmly and confidently awaiting appraisal rather than a long-memoried presence, making beauty forgotten in significance. It was not a room expressive of the young woman sunken in the deep chair. Appointed elaborately as she was, in her dense or transparent blacks, her crossed feet in their narrow buckled shoes stretched