The Project Gutenberg eBook, The Beldonald Holbein, by Henry James This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Beldonald Holbein Author: Henry James Release Date: May 8, 2005 [eBook #2366] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK THE BELDONALD HOLBEIN***
Transcribed from the 1922 Macmillan and Co. edition by David Price, email [email protected]. Proofing by Andy and his wife.
Mrs. Munden had not yet been to my studio on so good a pretext as when she first intimated that it would be quite open to me—should I only care, as she called it, to throw the handkerchief—to paint her beautiful sister-in-law. I needn’t go here more than is essential into the question of Mrs. Munden, who would really, by the way, be a story in herself. She has a manner of her own of putting things, and some of those she has put to me—! Her implication was that Lady Beldonald hadn’t only seen and admired certain examples of my work, but had literally been prepossessed in favour of the painter’s “personality.” Had I been struck with this sketch I might easily have imagined her ladyship was throwing me the handkerchief. “She hasn’t done,” my visitor said, “what she ought.”
“Do you mean she has done what she oughtn’t?”
“Nothing horrid—ah dear no.” And something in Mrs. Munden’s tone, with the way she appeared to muse a moment, even suggested to me that what she “oughtn’t” was perhaps what Lady Beldonald had too much neglected. “She hasn’t got on.”
“What’s the matter with her?”
“Well, to begin with, she’s American.”
“But I thought that was the way of ways to get on.”
“It’s one of them. But it’s one of the ways of being awfully out of it too. There are so many!”
“So many Americans?” I asked.
“Yes, plenty of them,” Mrs. Munden sighed. “So many ways, I mean, of being one.”
“But if your sister-in-law’s way is to be beautiful—?”
“Oh there are different ways of that too.”
“And she hasn’t taken the right way?”
“Well,” my friend returned as if it were rather difficult to express, “she hasn’t done with it—”
“I see,” I laughed; “what she oughtn’t!”
Mrs. Munden in a manner corrected me, but it was difficult to express. “My brother at all events was certainly selfish. Till he died she was almost never in London; they wintered, year after year, for what he supposed to be his health—which it didn’t help, since he was so much too soon to meet his end—in the south of France and in the dullest holes he could pick out, and when they came back to England he always kept her in the country. I must say for her that she always behaved beautifully. Since his death she has been more in London, but on a stupidly unsuccessful footing. I don’t think she quite understands. She hasn’t what I should call a life. It may be of course that she doesn’t want one. That’s just what I can’t exactly find out. I can’t make out how much she knows.”
“I can easily make out,” I returned with hilarity, “how much you do!”
“Well, you’re very horrid. Perhaps she’s too old.”
“Too old for what?” I persisted.
“For anything. Of course she’s no longer even a little young; only preserved—oh but preserved, like bottled fruit, in syrup! I want to help her if only because she gets on my nerves, and I really think the way of it would be just the right thing of yours at the Academy and on the line.”
“But suppose,” I threw out, “she should give on my nerves?”
“Oh she will. But isn’t that all in the day’s work, and don’t great beauties always—?”
“You don’t,” I interrupted; but I at any rate saw Lady Beldonald later on—the day came when her kinswoman brought her, and then I saw how her life must have its centre in her own idea of her appearance. Nothing else about her mattered—one knew her all when one knew that. She’s indeed in one particular, I think, sole of her kind—a person whom vanity has had the odd effect of keeping positively safe and sound. This passion is supposed surely, for the most part, to be a principle of perversion and of injury, leading astray those who listen to it and landing them sooner or later in this or that complication; but it has landed her ladyship nowhere whatever—it has kept her from the first moment of full consciousness, one feels, exactly in the same place. It has protected her from every danger, has made her absolutely proper and prim. If she’s “preserved,” as Mrs. Munden originally described her to me, it’s her vanity that has beautifully done it—putting her years ago in a plate-glass case and closing up the receptacle against every breath of air. How shouldn’t she be preserved when you might smash your knuckles on this transparency before you could crack it? And she is—oh amazingly! Preservation is scarce the word for the rare condition of her surface. She looks naturally new, as if she took out every night her large lovely varnished eyes and put them in water. The thing was to paint her, I perceived, in the glass case—a most tempting attaching feat; render to the full the shining interposing plate and the general show-window effect.
It was agreed, though it wasn’t quite arranged, that she should sit to me. If it wasn’t quite arranged this was because, as I was made to understand from an early stage, the conditions from our start must be such as should exclude all elements of disturbance, such, in a word, as she herself should judge absolutely favourable. And it seemed that these conditions were easily imperilled. Suddenly, for instance, at a moment when I was expecting her to meet an appointment—the first—that I had proposed, I received a hurried visit from Mrs. Munden, who came on her behalf to let me know that the season happened just not to be propitious and that our friend couldn’t be quite sure, to the hour, when it would again become so. She felt nothing would make it so but a total absence of worry.
“Oh a ‘total absence,’” I said, “is a large order! We live in a worrying world.”
“Yes; and she feels exactly that—more than you’d think. It’s in fact just why she mustn’t have, as she has now, a particular distress on at the very moment. She wants of course to look her best, and such things tell on her appearance.”
I shook my head. “Nothing tells on her appearance. Nothing reaches it in any way; nothing gets at it. However, I can understand her anxiety. But what’s her particular distress?”
“Why the illness of Miss Dadd.”
“And who in the world’s Miss Dadd?”
“Her most intimate friend and constant companion—the lady who was with us here that first day.”
“Oh the little round black woman who gurgled with admiration?”
“None other. But she was taken ill last week, and it may very well be that she’ll gurgle no more. She was very bad yesterday and is no better to-day, and Nina’s much upset. If anything happens to Miss Dadd she’ll have to get another, and, though she has had two or three before, that won’t be so easy.”
“Two or three Miss Dadds? is it possible? And still wanting another!” I recalled the poor lady completely now. “No; I shouldn’t indeed think it would be easy to get another. But why is a succession of them necessary to Lady Beldonald’s existence?”
“Can’t you guess?” Mrs. Munden looked deep, yet impatient. “They help.”
“Help what? Help whom?”
“Why every one. You and me for instance. To do what? Why to think Nina beautiful. She has them for that purpose; they serve as foils, as accents serve on syllables, as terms of comparison. They make her ‘stand out.’ It’s an effect of contrast that must be familiar to you artists; it’s what a woman does when she puts a band of black velvet under a pearl ornament that may, require, as she thinks, a little showing off.”
I wondered. “Do you mean she always has them black?”
“Dear no; I’ve seen them blue, green, yellow. They may be what they like, so long as they’re always one other thing.”
“Hideous?”
Mrs. Munden made a mouth for it. “Hideous is too much to say; she doesn’t really require them as bad as that. But consistently, cheerfully, loyally plain. It’s really a most happy relation. She loves them for it.”
“And for what do they love her?”
“Why just for the amiability that they produce in her. Then also for their ‘home.’ It’s a career for them.”
“I see. But if that’s the case,” I asked, “why are they so difficult to find?”
“Oh they must be safe; it’s all in that: her being able to depend on them to keep to the terms of the bargain and never have moments of rising—as even the ugliest woman will now and then (say when she’s in love)—superior to themselves.”
I turned it over. “Then if they can’t inspire passions the poor things mayn’t even at least feel them?”
“She distinctly deprecates it. That’s why such a man as you may be after all a complication.”
I continued to brood. “You’re very sure Miss Dadd’s ailment isn’t an affection that, being smothered, has struck in?” My joke, however, wasn’t well timed, for I afterwards learned that the unfortunate lady’s state had been, even while I spoke, such as to forbid all hope. The worst symptoms had appeared; she was destined not to recover; and a week later I heard from Mrs. Munden that she would in fact “gurgle” no more.
All this had been for Lady Beldonald an agitation so great that access to her apartment was denied for a time even to her sister-in-law. It was much more out of the question of course that she should unveil her face to a person of my special business with it; so that the question of the portrait was by common consent left to depend on that of the installation of a successor to her late companion. Such a successor, I gathered from Mrs. Munden, widowed childless and lonely, as well as inapt for the minor offices, she had absolutely to have; a more or less humble alter ago to deal with the servants, keep the accounts, make the tea and watch the window-blinds. Nothing seemed more natural than that she should marry again, and obviously that might come; yet the predecessors of Miss Dadd had been contemporaneous with a first husband, so that others formed in her image might be contemporaneous with a second. I was much occupied in those months at any rate, and these questions and their ramifications losing themselves for a while to my view, I was only brought back to them by Mrs. Munden’s arrival one day with the news that we were all right again—her sister-in-law was once more “suited.” A certain Mrs. Brash, an American relative whom she hadn’t seen for years, but with whom she had continued to communicate, was to come out to her immediately; and this person, it appeared, could be quite trusted to meet the conditions. She was ugly—ugly enough, without abuse of it, and was unlimitedly good. The position offered her by Lady Beldonald was moreover exactly what she needed; widowed also, after many troubles and reverses, with her fortune of the smallest, and her various children either buried or placed about, she had never had time or means to visit England, and would really be grateful in her declining years for the new experience and the pleasant light work involved in her cousin’s hospitality. They had been much together early in life and Lady Beldonald was immensely fond of her—would in fact have tried to get hold of her before hadn’t Mrs. Brash been always in bondage to family duties, to the variety of her tribulations. I daresay I laughed at my friend’s use of the term “position”—the position, one might call it, of a candlestick or a sign-post, and I daresay I must have asked if the special service the poor lady was to render had been made clear to her. Mrs. Munden left me in any case with the rather droll image of her faring forth across the sea quite consciously and resignedly to perform it.
The point of the communication had however been that my sitter was again looking up and would doubtless, on the arrival and due initiation of Mrs. Brash, be in form really to wait on me. The situation must further, to my knowledge, have developed happily, for I arranged with Mrs. Munden that our friend, now all ready to begin, but wanting first just to see the things I had most recently done, should come once more, as a final preliminary, to my studio. A good foreign friend of mine, a French painter, Paul Outreau, was at the moment in London, and I had proposed, as he was much interested in types, to get together for his amusement a small afternoon party. Every one came, my big room was full, there was music and a modest spread; and I’ve not forgotten the light of admiration in Outreau’s expressive face as at the end of half an hour he came up to me in his enthusiasm. “Bonté divine, mon cher—que cette vieille est donc belle!”
I had tried to collect all the beauty I could, and also all the youth, so that for a moment I was at a loss. I had talked to many people and provided for the music, and there were figures in the crowd that were still lost to me. “What old woman do you mean?”
“I don’t know her name—she was over by the door a moment ago. I asked somebody and was told, I think, that she’s American.”
I looked about and saw one of my guests attach a pair of fine eyes to Outreau very much as if she knew he must be talking of her. “Oh Lady Beldonald! Yes, she’s handsome; but the great point about her is that she has been ‘put up’ to keep, and that she wouldn’t be flattered if she knew you spoke of her as old. A box of sardines is ‘old’ only after it has been opened, Lady Beldonald never has yet been—but I’m going to do it.” I joked, but I was somewhat disappointed. It was a type that, with his unerring sense for the banal, I shouldn’t have expected Outreau to pick out.
“You’re going to paint her? But, my dear man, she is painted—and as neither you nor I can do it. Où est-elle donc? He had lost her, and I saw I had made a mistake. She’s the greatest of all the great Holbeins.”
I was relieved. “Ah then not Lady Beldonald! But do I possess a Holbein of any price unawares?”
“There she is—there she is! Dear, dear, dear, what a head!” And I saw whom he meant—and what: a small old lady in a black dress and a black bonnet, both relieved with a little white, who had evidently just changed, her place to reach a corner from which more of the room and of the scene was presented to her. She appeared unnoticed and unknown, and I immediately recognised that some other guest must have brought her and, for want of opportunity, had as yet to call my attention to her. But two things, simultaneously with this and with each other, struck me with force; one of them the truth of Outreau’s description of her, the other the fact that the person bringing her could only have been Lady Beldonald. She was a Holbein—of the first water; yet she was also Mrs. Brash, the imported “foil,” the indispensable “accent,” the successor to the dreary Miss Dadd! By the time I had put these things together—Outreau’s “American” having helped me—I was in just such full possession of her face as I had found myself, on the other first occasion, of that of her patroness. Only with so different a consequence. I couldn’t look at her enough, and I stared and stared till I became aware she might have fancied me challenging her as a person unpresented. “All the same,” Outreau went on, equally held, “c’est une tête à faire. If I were only staying long enough for a crack at her! But I tell you what”—and he seized my arm—“bring her over!”
“Over?”
“To Paris. She’d have a succès fou.”
“Ah thanks, my dear fellow,” I was now quite in a position to say; “she’s the handsomest thing in London, and”—for what I might do with her was already before me with intensity—“I propose to keep her to myself.” It was before me with intensity, in the light of Mrs. Brash’s distant perfection of a little white old face, in which every wrinkle was the touch of a master; but something else, I suddenly felt, was not less so, for Lady Beldonald, in the other quarter, and though she couldn’t have made out the subject of our notice, continued to fix us, and her eyes had the challenge of those of the woman of consequence who has missed something. A moment later I was close to her, apologising first for not having been more on the spot at her arrival, but saying in the next breath uncontrollably: “Why my dear lady, it’s a Holbein!”
“A Holbein? What?”
“Why the wonderful sharp old face so extraordinarily, consummately drawn—in the frame of black velvet. That of Mrs. Brash, I mean—isn’t it her name?—your companion.”
This was the beginning of a most odd matter—the essence of my anecdote; and I think the very first note of the oddity must have sounded for me in the tone in which her ladyship spoke after giving me a silent look. It seemed to come to me out of a distance immeasurably removed from Holbein. “Mrs. Brash isn’t my ‘companion’ in the sense you appear to mean. She’s my rather near relation and a very dear old friend. I love her—and you must know her.”
“Know her? Rather! Why to see her is to want on the spot to ‘go’ for her. She also must sit for me,”
“She? Louisa Brash?” If Lady Beldonald had the theory that her beauty directly showed it when things weren’t well with her, this impression, which the fixed sweetness of her serenity had hitherto struck me by no means as justifying, gave me now my first glimpse of its grounds. It was as if I had never before seen her face invaded by anything I should have called an expression. This expression moreover was of the faintest—was like the effect produced on a surface by an agitation both deep within and as yet much confused. “Have you told her so?” she then quickly asked, as if to soften the sound of her surprise.
“Dear no, I’ve but just noticed her—Outreau, a moment ago put me on her. But we’re both so taken, and he also wants—”
“To paint her?” Lady Beldonald uncontrollably murmured.
“Don’t be afraid we shall fight for her,” I returned with a laugh for this tone. Mrs. Brash was still where I could see her without appearing to stare, and she mightn’t have seen I was looking at her, though her protectress, I’m afraid, could scarce have failed of that certainty. “We must each take our turn, and at any rate she’s a wonderful thing, so that if you’ll let her go to Paris Outreau promises her there—”
“There?” my companion gasped.
“A career bigger still than among us, as he considers we haven’t half their eye. He guarantees her a succès fou.”
She couldn’t get over it. “Louisa Brash? In Paris?”
“They do see,” I went on, “more than we and they live extraordinarily, don’t you know, in that. But she’ll do something here too.”
“And what will she do?”
If frankly now I couldn’t help giving Mrs. Brash a longer look, so after it I could as little resist sounding my converser. “You’ll see. Only give her time.”
She said nothing during the moment in which she met my eyes; but then: “Time, it seems to me, is exactly what you and your friend want. If you haven’t talked with her—”
“We haven’t seen her? Oh we see bang off—with a click like a steel spring. It’s our trade, it’s our life, and we should be donkeys if we made mistakes. That’s the way I saw you yourself, my lady, if I may say so; that’s the way, with a long pin straight through your body, I’ve got you. And just so I’ve got her!”
All this, for reasons, had brought my guest to her feet; but her eyes had while we talked never once followed the direction of mine. “You call her a Holbein?”
“Outreau did, and I of course immediately recognised it. Don’t you? She brings the old boy to life! It’s just as I should call you a Titian. You bring him to life.”
She couldn’t be said to relax, because she couldn’t be said to have hardened; but something at any rate on this took place in her—something indeed quite disconnected from what I would have called her. “Don’t you understand that she has always been supposed—?” It had the ring of impatience; nevertheless it stopped short on a scruple.
I knew what it was, however, well enough to say it for her if she preferred. “To be nothing whatever to look at? To be unfortunately plain—or even if you like repulsively ugly? Oh yes, I understand it perfectly, just as I understand—I have to as a part of my trade—many other forms of stupidity. It’s nothing new to one that ninety-nine people out of a hundred have no eyes, no sense, no taste. There are whole communities impenetrably sealed. I don’t say your friend’s a person to make the men turn round in Regent Street. But it adds to the joy of the few who do see that they have it so much to themselves. Where in the world can she have lived? You must tell me all about that—or rather, if she’ll be so good, she must.”
“You mean then to speak to her—?”
I wondered as she pulled up again. “Of her beauty?”
“Her beauty!” cried Lady Beldonald so loud that two or three persons looked round.
“Ah with every precaution of respect!” I declared in a much lower tone. But her back was by this time turned to me, and in the movement, as it were, one of the strangest little dramas I’ve ever known was well launched.
It was a drama of small smothered intensely private things, and I knew of but one other person in the secret; yet that person and I found it exquisitely susceptible of notation, followed it with an interest the mutual communication of which did much for our enjoyment, and were present with emotion at its touching catastrophe. The small case—for so small a case—had made a great stride even before my little party separated, and in fact within the next ten minutes.
In that space of time two things had happened one of which was that I made the acquaintance of Mrs. Brash; and the other that Mrs. Munden reached me, cleaving the crowd, with one of her usual pieces of news. What she had to impart was that, on her having just before asked Nina if the conditions of our sitting had been arranged with me, Nina had replied, with something like perversity, that she didn’t propose to arrange them, that the whole affair was “off” again and that she preferred not to be further beset for the present. The question for Mrs. Munden was naturally what had happened and whether I understood. Oh I understood perfectly, and what I at first most understood was that even when I had brought in the name of Mrs. Brash intelligence wasn’t yet in Mrs. Munden. She was quite as surprised as Lady Beldonald had been on hearing of the esteem in which I held Mrs. Brash’s appearance. She was stupefied at learning that I had just in my ardour proposed to its proprietress to sit to me. Only she came round promptly—which Lady Beldonald really never did. Mrs. Munden was in fact wonderful; for when I had given her quickly “Why she’s a Holbein, you know, absolutely,” she took it up, after a first fine vacancy, with an immediate abysmal “Oh is she?” that, as a piece of social gymnastics, did her the greatest honour; and she was in fact the first in London to spread the tidings. For a face—about it was magnificent. But she was also the first, I must add, to see what would really happen—though this she put before me only a week or two later. “It will kill her, my dear—that’s what it will do!”
She meant neither more nor less than that it would kill Lady Beldonald if I were to paint Mrs. Brash; for at this lurid light had we arrived in so short a space of time. It was for me to decide whether my æsthetic need of giving life to my idea was such as to justify me in destroying it in a woman after all in most eyes so beautiful. The situation was indeed sufficiently queer; for it remained to be seen what I should positively gain by giving up Mrs. Brash. I appeared to have in any case lost Lady Beldonald, now too “upset”—it was always Mrs. Munden’s word about her and, as I inferred, her own about herself—to meet me again on our previous footing. The only thing, I of course soon saw, was to temporise to drop the whole question for the present and yet so far as possible keep each of the pair in view. I may as well say at once that this plan and this process gave their principal interest to the next several months. Mrs. Brash had turned up, if I remember, early in the new year, and her little wonderful career was in our particular circle one of the features of the following season. It was at all events for myself the most attaching; it’s not my fault if I am so put together as often to find more life in situations obscure and subject to interpretation than in the gross rattle of the foreground. And there were all sorts of things, things touching, amusing, mystifying—and above all such an instance as I had never yet met—in this funny little fortune of the useful American cousin. Mrs. Munden was promptly at one with me as to the rarity and, to a near and human view, the beauty and interest of the position. We had neither of us ever before seen that degree and that special sort of personal success come to a woman for the first time so late in life. I found it an example of poetic, of absolutely retributive justice; so that my desire grew great to work it, as we say, on those lines. I had seen it all from the original moment at my studio; the poor lady had never known an hour’s appreciation—which moreover, in perfect good faith, she had never missed. The very first thing I did after inducing so unintentionally the resentful retreat of her protectress had been to go straight over to her and say almost without preliminaries that I should hold myself immeasurably obliged for a few patient sittings. What I thus came face to face with was, on the instant, her whole unenlightened past and the full, if foreshortened, revelation of what among us all was now unfailingly in store for her. To turn the handle and start that tune came to me on the spot as a temptation. Here was a poor lady who had waited for the approach of old age to find out what she was worth. Here was a benighted being to whom it was to be disclosed in her fifty-seventh year—I was to make that out—that she had something that might pass for a face. She looked much more than her age, and was fairly frightened—as if I had been trying on her some possibly heartless London trick—when she had taken in my appeal. That showed me in what an air she had lived and—as I should have been tempted to put it had I spoken out—among what children of darkness. Later on I did them more justice; saw more that her wonderful points must have been points largely the fruit of time, and even that possibly she might never in all her life have looked so well as at this particular moment. It might have been that if her hour had struck I just happened to be present at the striking. What had occurred, all the same, was at the worst a notable comedy.
The famous “irony of fate” takes many forms, but I had never yet seen it take quite this one. She had been “had over” on an understanding, and she wasn’t playing fair. She had broken the law of her ugliness and had turned beautiful on the hands of her employer. More interesting even perhaps than a view of the conscious triumph that this might prepare for her, and of which, had I doubted of my own judgement, I could still take Outreau’s fine start as the full guarantee—more interesting was the question of the process by which such a history could get itself enacted. The curious thing was that all the while the reasons of her having passed for plain—the reasons for Lady Beldonald’s fond calculation, which they quite justified—were written large in her face, so large that it was easy to understand them as the only ones she herself had ever read. What was it then that actually made the old stale sentence mean something so different?—into what new combinations, what extraordinary language, unknown but understood at a glance, had time and life translated it? The only thing to be said was that time and life were artists who beat us all, working with recipes and secrets we could never find out. I really ought to have, like a lecturer or a showman, a chart or a blackboard to present properly the relation, in the wonderful old tender battered blanched face, between the original elements and the exquisite final “style.” I could do it with chalks, but I can scarcely do it with words. However, the thing was, for any artist who respected himself, to feel it—which I abundantly did; and then not to conceal from her I felt it—which I neglected as little. But she was really, to do her complete justice, the last to understand; and I’m not sure that, to the end—for there was an end—she quite made it all out or knew where she was. When you’ve been brought up for fifty years on black it must be hard to adjust your organism at a day’s notice to gold-colour. Her whole nature had been pitched in the key of her supposed plainness. She had known how to be ugly—it was the only thing she had learnt save, if possible, how not to mind it. Being beautiful took in any case a new set of muscles. It was on the prior conviction, literally, that she had developed her admirable dress, instinctively felicitous, always either black or white and a matter of rather severe squareness and studied line. She was magnificently neat; everything she showed had a way of looking both old and fresh; and there was on every occasion the same picture in her draped head—draped in low-falling black—and the fine white plaits (of a painter’s white, somehow) disposed on her chest. What had happened was that these arrangements, determined by certain considerations, lent themselves in effect much better to certain others. Adopted in mere shy silence they had really only deepened her accent. It was singular, moreover, that, so constituted, there was nothing in her aspect of the ascetic or the nun. She was a good hard sixteenth-century figure, not withered with innocence, bleached rather by life in the open. She was in short just what we had made of her, a Holbein for a great Museum; and our position, Mrs. Munden’s and mine, rapidly became that of persons having such a treasure to dispose of. The world—I speak of course mainly of the art-world—flocked to see it.
“But has she any idea herself, poor thing?” was the way I had put it to Mrs. Munden on our next meeting after the incident at my studio; with the effect, however, only of leaving my friend at first to take me as alluding to Mrs. Brash’s possible prevision of the chatter she might create. I had my own sense of that—this provision had been nil; the question was of her consciousness of the office for which Lady Beldonald had counted on her and for which we were so promptly proceeding to spoil her altogether.
“Oh I think she arrived with a goodish notion,” Mrs. Munden had replied when I had explained; “for she’s clever too, you know, as well as good-looking, and I don’t see how, if she ever really knew Nina, she could have supposed for a moment that she wasn’t wanted for whatever she might have left to give up. Hasn’t she moreover always been made to feel that she’s ugly enough for anything?” It was even at this point already wonderful how my friend had mastered the case and what lights, alike for its past and its future, she was prepared to throw on it. “If she has seen herself as ugly enough for anything she has seen herself—and that was the only way—as ugly enough for Nina; and she has had her own manner of showing that she understands without making Nina commit herself to anything vulgar. Women are never without ways for doing such things—both for communicating and receiving knowledge—that I can’t explain to you, and that you wouldn’t understand if I could, since you must be a woman even to do that. I daresay they’ve expressed it all to each other simply in the language of kisses. But doesn’t it at any rate make something rather beautiful of the relation between them as affected by our discovery—?”
I had a laugh for her plural possessive. “The point is of course that if there was a conscious bargain, and our action on Mrs. Brash is to deprive her of the sense of keeping her side of it, various things may happen that won’t be good either for her or for ourselves. She may conscientiously throw up the position.”
“Yes,” my companion mused—“for she is conscientious. Or Nina, without waiting for that, may cast her forth.”
I faced it all. “Then we should have to keep her.”
“As a regular model?” Mrs. Munden was ready for anything. “Oh that would be lovely!”
But I further worked it out. “The difficulty is that she’s not a model, hang it—that she’s too good for one, that she’s the very thing herself. When Outreau and I have each had our go, that will be all; there’ll be nothing left for any one else. Therefore it behoves us quite to understand that our attitude’s a responsibility. If we can’t do for her positively more than Nina does—”
“We must let her alone?” My companion continued to muse. “I see!”
“Yet don’t,” I returned, “see too much. We can do more.”
“Than Nina?” She was again on the spot. “It wouldn’t after all be difficult. We only want the directly opposite thing—and which is the only one the poor dear can give. Unless indeed,” she suggested, “we simply retract—we back out.”
I turned it over. “It’s too late for that. Whether Mrs. Brash’s peace is gone I can’t say. But Nina’s is.”
“Yes, and there’s no way to bring it back that won’t sacrifice her friend. We can’t turn round and say Mrs. Brash is ugly, can we? But fancy Nina’s not having seen!” Mrs. Munden exclaimed.
“She doesn’t see now,” I answered. “She can’t, I’m certain, make out what we mean. The woman, for her still, is just what she always was. But she has nevertheless had her stroke, and her blindness, while she wavers and gropes in the dark, only adds to her discomfort. Her blow was to see the attention of the world deviate.”
“All the same I don’t think, you know,” my interlocutress said, “that Nina will have made her a scene or that, whatever we do, she’ll ever make her one. That isn’t the way it will happen, for she’s exactly as conscientious as Mrs. Brash.”
“Then what is the way?” I asked.
“It will just happen in silence.”
“And what will ‘it,’ as you call it, be?”
“Isn’t that what we want really to see?”
“Well,” I replied after a turn or two about, “whether we want it or not it’s exactly what we shall see; which is a reason the more for fancying, between the pair there—in the quiet exquisite house, and full of superiorities and suppressions as they both are—the extraordinary situation. If I said just now that it’s too late to do anything but assent it’s because I’ve taken the full measure of what happened at my studio. It took but a few moments—but she tasted of the tree.”
My companion wondered. “Nina?”
“Mrs. Brash.” And to have to put it so ministered, while I took yet another turn, to a sort of agitation. Our attitude was a responsibility.
But I had suggested something else to my friend, who appeared for a moment detached. “Should you say she’ll hate her worse if she doesn’t see?”
“Lady Beldonald? Doesn’t see what we see, you mean, than if she does? Ah I give that up!” I laughed. “But what I can tell you is why I hold that, as I said just now, we can do most. We can do this: we can give to a harmless and sensitive creature hitherto practically disinherited—and give with an unexpectedness that will immensely add to its price—the pure joy of a deep draught of the very pride of life, of an acclaimed personal triumph in our superior sophisticated world.”
Mrs. Munden had a glow of response for my sudden eloquence. Oh it will be beautiful!
Well, that’s what, on the whole and in spite of everything, it really was. It has dropped into my memory a rich little gallery of pictures, a regular panorama of those occasions that were to minister to the view from which I had so for a moment extracted a lyric inspiration. I see Mrs. Brash on each of these occasions practically enthroned and surrounded and more or less mobbed; see the hurrying and the nudging and the pressing and the staring; see the people “making up” and introduced, and catch the word when they have had their turn; hear it above all, the great one—“Ah yes, the famous Holbein!”—passed about with that perfection of promptitude that makes the motions of the London mind so happy a mixture of those of the parrot and the sheep. Nothing would be easier of course than to tell the whole little tale with an eye only for that silly side of it. Great was the silliness, but great also as to this case of poor Mrs. Brash, I will say for it, the good nature. Of course, furthermore, it took in particular “our set,” with its positive child-terror of the banal, to be either so foolish or so wise; though indeed I’ve never quite known where our set begins and ends, and have had to content myself on this score with the indication once given me by a lady next whom I was placed at dinner: “Oh it’s bounded on the north by Ibsen and on the south by Sargent!” Mrs. Brash never sat to me; she absolutely declined; and when she declared that it was quite enough for her that I had with that fine precipitation invited her, I quite took this as she meant it; before we had gone very far our understanding, hers and mine, was complete. Her attitude was as happy as her success was prodigious. The sacrifice of the portrait was a sacrifice to the true inwardness of Lady Beldonald, and did much, for the time, I divined, toward muffling their domestic tension. All it was thus in her power to say—and I heard of a few cases of her having said it—was that she was sure I would have painted her beautifully if she hadn’t prevented me. She couldn’t even tell the truth, which was that I certainly would have done so if Lady Beldonald hadn’t; and she never could mention the subject at all before that personage. I can only describe the affair, naturally, from the outside, and heaven forbid indeed that I should try too closely to, reconstruct the possible strange intercourse of these good friends at home.
My anecdote, however, would lose half the point it may have to show were I to omit all mention of the consummate turn her ladyship appeared gradually to have found herself able to give her deportment. She had made it impossible I should myself bring up our old, our original question, but there was real distinction in her manner of now accepting certain other possibilities. Let me do her that justice; her effort at magnanimity must have been immense. There couldn’t fail of course to be ways in which poor Mrs. Brash paid for it. How much she had to pay we were in fact soon enough to see; and it’s my intimate conviction that, as a climax, her life at last was the price. But while she lived at least—and it was with an intensity, for those wondrous weeks, of which she had never dreamed—Lady Beldonald herself faced the music. This is what I mean by the possibilities, by the sharp actualities indeed, that she accepted. She took our friend out, she showed her at home, never attempted to hide or to betray her, played her no trick whatever so long as the ordeal lasted. She drank deep, on her side too, of the cup—the cup that for her own lips could only be bitterness. There was, I think, scarce a special success of her companion’s at which she wasn’t personally present. Mrs. Munden’s theory of the silence in which all this would be muffled for them was none the less, and in abundance, confirmed by our observations. The whole thing was to be the death of one or the other of them, but they never spoke of it at tea. I remember even that Nina went so far as to say to me once, looking me full in the eyes, quite sublimely, “I’ve made out what you mean—she is a picture.” The beauty of this moreover was that, as I’m persuaded, she hadn’t really made it out at all—the words were the mere hypocrisy of her reflective endeavour for virtue. She couldn’t possibly have made it out; her friend was as much as ever “dreadfully plain” to her; she must have wondered to the last what on earth possessed us. Wouldn’t it in fact have been after all just this failure of vision, this supreme stupidity in short, that kept the catastrophe so long at bay? There was a certain sense of greatness for her in seeing so many of us so absurdly mistaken; and I recall that on various occasions, and in particular when she uttered the words just quoted, this high serenity, as a sign of the relief of her soreness, if not of the effort of her conscience, did something quite visible to my eyes, and also quite unprecedented, for the beauty of her face. She got a real lift from it—such a momentary discernible sublimity that I recollect coming out on the spot with a queer crude amused “Do you know I believe I could paint you now?”
She was a fool not to have closed with me then and there; for what has happened since has altered everything—what was to happen a little later was so much more than I could swallow. This was the disappearance of the famous Holbein from one day to the other—producing a consternation among us all as great as if the Venus of Milo had suddenly vanished from the Louvre. “She has simply shipped her straight back”—the explanation was given in that form by Mrs. Munden, who added that any cord pulled tight enough would end at last by snapping. At the snap, in any case, we mightily jumped, for the masterpiece we had for three or four months been living with had made us feel its presence as a luminous lesson and a daily need. We recognised more than ever that it had been, for high finish, the gem of our collection—we found what a blank it left on the wall. Lady Beldonald might fill up the blank, but we couldn’t. That she did soon fill it up—and, heaven help us, how was put before me after an interval of no great length, but during which I hadn’t seen her. I dined on the Christmas of last year at Mrs. Munden’s, and Nina, with a “scratch lot,” as our hostess said, was there, so that, the preliminary wait being longish, she could approach me very sweetly. “I’ll come to you tomorrow if you like,” she said; and the effect of it, after a first stare at her, was to make me look all round. I took in, by these two motions, two things; one of which was that, though now again so satisfied herself of her high state, she could give me nothing comparable to what I should have got had she taken me up at the moment of my meeting her on her distinguished concession; the other that she was “suited” afresh and that Mrs. Brash’s successor was fully installed. Mrs. Brash’s successor, was at the other side of the room, and I became conscious that Mrs. Munden was waiting to see my eyes seek her. I guessed the meaning of the wait; what was one, this time, to say? Oh first and foremost assuredly that it was immensely droll, for this time at least there was no mistake. The lady I looked upon, and as to whom my friend, again quite at sea, appealed to me for a formula, was as little a Holbein, or a specimen of any other school, as she was, like Lady Beldonald herself, a Titian. The formula was easy to give, for the amusement was that her prettiness—yes, literally, prodigiously, her prettiness—was distinct. Lady Beldonald had been magnificent—had been almost intelligent. Miss What’s-her-name continues pretty, continues even young, and doesn’t matter a straw! She matters so ideally little that Lady Beldonald is practically safer, I judge, than she has ever been. There hasn’t been a symptom of chatter about this person, and I believe her protectress is much surprised that we’re not more struck.
It was at any rate strictly impossible to me to make an appointment for the day as to which I have just recorded Nina’s proposal; and the turn of events since then has not quickened my eagerness. Mrs. Munden remained in correspondence with Mrs. Brash—to the extent, that is, of three letters, each of which she showed me. They so told to our imagination her terrible little story that we were quite prepared—or thought we were—for her going out like a snuffed candle. She resisted, on her return to her original conditions, less than a year; the taste of the tree, as I had called it, had been fatal to her; what she had contentedly enough lived without before for half a century she couldn’t now live without for a day. I know nothing of her original conditions—some minor American city—save that for her to have gone back to them was clearly to have stepped out of her frame. We performed, Mrs. Munden and I, a small funeral service for her by talking it all over and making it all out. It wasn’t—the minor American city—a market for Holbeins, and what had occurred was that the poor old picture, banished from its museum and refreshed by the rise of no new movement to hang it, was capable of the miracle of a silent revolution; of itself turning, in its dire dishonour, its face to the wall. So it stood, without the intervention of the ghost of a critic, till they happened to pull it round again and find it mere dead paint. Well, it had had, if that’s anything, its season of fame, its name on a thousand tongues and printed in capitals in the catalogue. We hadn’t been at fault. I haven’t, all the same, the least note of her—not a scratch. And I did her so in intention! Mrs. Munden continues to remind me, however, that this is not the sort of rendering with which, on the other side, after all, Lady Beldonald proposes to content herself. She has come back to the question of her own portrait. Let me settle it then at last. Since she will have the real thing—well, hang it, she shall!
***END OF THE PROJECT GUTENBERG EBOOK THE BELDONALD HOLBEIN***
***** This file should be named 2366-h.htm or 2366-h.zip******
This and all associated files of various formats will be found in:
https://www.gutenberg.org/dirs/2/3/6/2366
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.gutenberg.org/fundraising/pglaf.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://www.gutenberg.org/about/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://www.gutenberg.org/fundraising/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit:
https://www.gutenberg.org/fundraising/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.