Back to her boulders Alma turned. She took out her tape and measured the colonies again. Hastily, she recorded the data in her notebook.
Only two more hours.
She had so much work to do.
Arthur and Prudence Dixon would have to learn how to take more care with their own lives.
Chapter Fourteen
Later that month, Alma received a note from George Hawkes, asking that she please come to Arch Street, in order to visit his printing shop and see something quite extraordinary.
“I shall not spoil the incredibility of it by telling you more at this point,” he wrote, “but I believe you would enjoy viewing this in person, and at your leisure.”
Well, Alma had no leisure. Neither did George, though—which is why this note was most unprecedented. In the past, George had contacted Alma only for publishing matters, or emergencies regarding Retta. But there had been no emergencies with Retta since they had placed her at Griffon’s, and Alma and George were not working on a book together at the moment. What, then, could be so urgent?
Intrigued, she took a carriage to Arch Street.
She found George in a back room, hulking over a long table covered with the most dazzling multiplication of shapes and colors. As Alma approached, she could see that this was an enormous collection of paintings of orchids, stacked in tall piles. Not only paintings, but lithographs, drawings, and etchings.
“This is the most beautiful work I have ever seen,” George said, by means of a greeting. “It’s just come in yesterday, from Boston. It’s such an odd story. Look at this mastery!”
George thrust into Alma’s hand a lithograph of a spotted Catasetum. The orchid had been rendered so magnificently that it seemed to grow off the page. Its lips were spotted red against yellow, and appeared moist, like living flesh. Its leaves were lush and thick, and its bulbous roots looked as though one could shake actual soil off them. Before Alma could thoroughly take in the beauty, George handed her another stunning print—a Peristeria barkeri, with its tumbling golden blossoms so fresh they nearly trembled. Whoever had tinted this lithograph had been a master of texture as well as color; the petals resembled unshorn velvet, and touches of albumen on their tips gave each blossom a hint of dew.
Then George handed her another print, and Alma could not help but gasp. Whatever this orchid was, Alma had never seen it before. Its tiny pink lobes looked like something a fairy would don for a fancy dress ball. She had never seen such complexity, such delicacy. Alma knew lithographs, and knew them well. She had been born only four years after the technique was invented, and she had collected for the library at White Acre some of the finest lithography the world had yet produced. She believed she well understood the technical limitations of the medium, yet these prints proved her wrong. George Hawkes knew lithography, too. Nobody in Philadelphia had mastered it better than he. Yet his hand shook as he reached to give Alma another sheet, another orchid. He wanted her to see all of this, and he wanted her to see it all at once. Alma was desperate to keep looking, but she needed to better understand the situation first.
“Wait, George, let us pause for a moment. You must tell me—who made these?” Alma asked. She knew all the best botanical illustrators, but she did not know this artist. Not even Walter Hood Fitch could create work like this. If she had ever before seen the likes of it, she most certainly would have remembered.
“The most extraordinary fellow, it seems,” George said. “His name is Ambrose Pike.”
Alma had never heard the name.
“Who publishes his work?” she asked.
“Nobody!”
“Who has commissioned this work, then?”
“It is not clear that anyone has commissioned it,” George said. “Mr. Pike made the lithographs himself, in a friend’s print shop in Boston. He found the orchids, executed the sketches, made the prints, and even did the tint work on his own. He sent all this work to me without a good deal more explanation than that. It arrived yesterday in the most innocuous box you have ever seen. I nearly toppled over when I opened it, as you can imagine. Mr. Pike has been in Guatemala and Mexico for these past eighteen years, he says, and only recently returned home to Massachusetts. The orchids he has documented here are the result of his time in the jungle. Nobody knows of him. We must bring him to Philadelphia, Alma. Perhaps you could invite him to White Acre? His letter was most humble. He has put the entirety of his life toward this endeavor. He wonders if I might publish it for him.”
“You will publish, won’t you?” Alma asked, already imagining these lavish prints in a perfectly executed Hawkes volume.
“Naturally, I will publish! But first I must gather my senses around it all. Some of these orchids, Alma, I’ve never before seen. Such artistry, I most certainly have never before seen.”
“Nor have I,” Alma said, turning to the table and gently paging through the other examples. She almost didn’t want to touch them, they were that spectacular. They should be behind glass—each and every one. Even the smallest sketches were masterpieces. Reflexively, she glanced up at the ceiling to make sure it was sound, that nothing would leak on this work and destroy it. She feared suddenly for fire or theft. George needed to put a lock on this room. She wished she were wearing gloves.
“Have you ever—” George began, but he was so overcome, he couldn’t finish the sentence. She had never seen his face so undone by emotion.
“I have never,” she murmured. “I have never in my life.”
* * *
That very evening, Alma wrote a letter to Mr. Ambrose Pike, of Massachusetts.
She had written many thousands of letters in her life—and many of them had been letters of praise or invitation—but she did not know how to begin this one. How does one address true genius? In the end, she decided she must be nothing short of direct.
Dear Mr. Pike,
I fear you have done me a great harm. You have ruined me forever, for admiring anybody else’s botanical artwork. The world of drawing, painting, and lithography will seem sadly drab and dull to me now that I have seen your orchids. I believe you may soon be visiting Philadelphia in order to work alongside my dear friend George Hawkes on the publication of a book. I wonder if, while you are in our city, I may lure you to White Acre, my family’s estate, for an extended visit? We have greenhouses stocked with an abundance of orchids—some of which are nearly as beautiful in reality as yours are in depiction. I daresay you may enjoy them. Perhaps you might even wish to draw them. (Any of our flowers would consider it an honor to have their portraits painted by you!) Without a doubt, my father and I shall delight in making your acquaintance. If you alert me as to your expected arrival, I shall send a private carriage to collect you at the train station. Once you are in our care, we shall see to your every need. Please do not harm me again by refusing!
Most sincerely yours, Alma Whittaker
* * *
He arrived in the middle of May 1848.
Alma was in her study working at her microscope when she saw the carriage pull up in front of the house. A tall, slender, sandy-haired young man in a brown corduroy suit stepped out. From this distance, he appeared to be no more than twenty years old—though Alma knew that to be impossible. He was carrying nothing but a small leather valise, which looked not only as though it had traveled the world a few times already, but as though it might fall apart before the end of this day.
Alma watched for a moment before she went out to greet him. She had witnessed so many arrivals at White Acre over the years, and it was her experience that first-time visitors always did exactly the same thing: they stopped in their tracks to gape at the house before them, for White Acre was both magnificent and daunting, especially upon first sight. The place had been expressly designed to intimidate, after all, and few guests could hide their awe, their envy, or their fear—particularly if they did not know they were being watched.
But Mr. Pike did not even look at the house. In fact, he turned his back to the mansion imme
diately and regarded, instead, Beatrix’s old Grecian garden—which Alma and Hanneke had kept pristine over the decades as a tribute to her. He backed up a bit, as though to get a better sense of it, and then he did the oddest thing: he set down his valise, took off his jacket, walked to the northwest corner of the garden, and then strode in long lengths diagonally to the southeast corner. He stood there for a moment, looked about, and then paced out two contiguous borders of the garden—its length and width—in the long strides of a surveyor measuring a property boundary. When he reached the northwest corner, he took off his hat, scratched his head, paused for a moment, and then burst into laughter. Alma could not hear his laughter, but she could distinctly see it.
This was too much for her to resist, and she rushed out of her carriage house to meet him.
“Mr. Pike,” she said, extending her hand as she approached him.
“You must be Miss Whittaker!” he said, smiling warmly and taking her hand in greeting. “My eyes cannot believe what I am seeing here! You must tell me, Miss Whittaker—what mad genius took such pains to fabricate this garden according to strict Euclidian geometric ideals?”
“It was my mother’s inspiration, sir. Had she not passed away many years ago, she would have thrilled to know that you recognized her objectives.”
“Who would not recognize them? It’s the golden ratio! We have double squares here, containing recurring nets of squares—and with the pathways bisecting the entire construction, we make several three-four-five triangles, as well. It’s so pleasing! I find it extraordinary that somebody would take the trouble to do this, and on such a magnificent scale. The boxwoods are perfect, too. They seem to serve as equation marks to all the conjugates. She must have been a delight, your mother.”
“A delight . . .” Alma considered that possibility. “Well, my mother was blessed with a mind that functioned with delightful precision, to be sure.”
“How very remarkable,” he said.
He had still not appeared to notice the house.
“It is a true pleasure to meet you, Mr. Pike,” Alma said.
“And you, Miss Whittaker. Your letter was most generous. I must say that I enjoyed the private carriage ride—a first, in my long life. I am so accustomed to traveling in close quarters with squalling children, unhappy animals, and loud men smoking thick cigars that I scarcely knew what to do with myself for such a long spell of solitude and tranquility.”
“What did you do with yourself, then?” Alma asked, smiling at his enthusiasm.
“I befriended a quiet view of the road.”
Before Alma could respond to that charming reply, she saw an expression of concern cross Mr. Pike’s face. She turned to see what he was looking at: a servant was walking into White Acre’s daunting front doors, carrying Mr. Pike’s small piece of baggage with him.
“My valise . . .” he said, reaching out a hand.
“We are merely taking it to your rooms for you, Mr. Pike. It will be there, next to your bed and awaiting you, whenever you need it. “
He shook his head, embarrassed. “Of course you are,” he said. “How foolish of me. My apologies. I am not accustomed to servants, and that sort of thing.”
“Would you prefer to keep your valise with you?”
“No, not at all. Forgive my reaction, Miss Whittaker. But if one has only a single asset in life, as do I, it is a bit worrisome to watch a stranger walk off with it!”
“You have far more than one asset in life, Mr. Pike. You have your exceptional artistic talent—the likes of which neither Mr. Hawkes nor I has ever before seen.”
He laughed. “Ah! You are kind to say so, Miss Whittaker. But everything else that I own is in the valise, and perhaps I value those prized little belongings more!”
Now Alma was laughing, too. The reserve that normally exists between two strangers was thoroughly absent. Perhaps it had never been there at all.
“Now tell me, Miss Whittaker,” he said, brightly. “What other marvels do you have at White Acre? And what is this I hear, that you study mosses?”
This is how it came to pass that, by the end of the hour, they were standing together amid Alma’s boulders, discussing Dicranum. She had intended to show him the orchids first. Or rather, she had never intended to show him the moss beds at all—for nobody else had ever shown an interest in them—but once she had started speaking of her work, he insisted that she take him to see it.
“I should warn you, Mr. Pike,” she said, as they walked across the field together, “that most people find mosses to be quite dull.”
“That doesn’t frighten me,” he said. “I’ve always found fascination in subjects that other people find dull.”
“This, we share,” said Alma.
“Tell me, though, Miss Whittaker, what is it that you admire in mosses?”
“Their dignity,” Alma replied without hesitation. “Also, their silence and intelligence. I like that—as a point of study—they are fresh. They are not like other bigger or more important plants, which have all been pondered and poked at by hordes of botanists already. I suppose I admire their modesty, as well. Mosses hold their beauty in elegant reserve. By comparison to mosses, everything else in the botanical world can seem so blunt and obvious. Do you understand what I am saying? Do you know how the bigger, showier flowers can look at times like dumb, drooling fools—the way they bob about with their mouths agape, appearing so stunned and helpless?”
“I congratulate you, Miss Whittaker. You have just described the orchid family to perfection.”
She gasped and put her hands to her mouth. “I’ve offended you!”
But Mr. Pike was smiling. “Not in the least. I am teasing you. I have never defended the intelligence of an orchid, and I never shall. I do love them, but I confess that they do not seem particularly bright—not by your standards of description. But I am much enjoying listening to somebody defend the intelligence of moss! It feels as though you are writing a character reference in their defense.”
“Somebody must defend them, Mr. Pike! For they have been so overlooked, and they have such a noble character! In fact, I find the miniature world to be a gift of disguised greatness, and therefore an honor to study.”
Ambrose Pike didn’t seem to find any of this dull. When they arrived at the boulders, he had dozens of questions for Alma, and he put his face so close to the moss colonies that it appeared as though his beard was growing out of the stones. He listened with care as she explained each variety, and discussed her burgeoning theories of transmutation. Perhaps she spoke overly long. Her mother would have said so. Even as she spoke, Alma feared that she was about to throw this poor man into pure tedium. But he was so welcoming! She felt herself set loose as she spilled forth ideas from her long-overbrimming vaults of private thoughts. There is only so long that a person can keep her enthusiasms locked away within her heart before she longs to share it with a fellow soul, and Alma had many decades of thoughts much overdue for sharing.
Very soon Mr. Pike had thrown himself on the ground so that he could peer under the lip of a larger boulder and examine the moss beds that were hidden in those secret shelves. His long legs flopped out from beneath the rock as he enthused. Alma thought she had never been so pleased in her life. She had always wanted to show this to somebody.
“So here is my question to you, Miss Whittaker,” he called from under the rock ledge. “What is the true nature of your moss colonies? They have mastered the trick, as you say, of appearing modest and mild. Yet from what you tell me, they possess considerable faculties. Are they friendly pioneers, your mosses? Or are they hostile marauders?”
“Farmers or pirates, do you mean?” Alma asked.
“Exactly.”
“I cannot say for certain,” Alma said. “Perhaps a bit of both. I wonder that to myself all the time. It may take me another twenty-five years or so to learn.”
“I admire your patience,” he said, at last rolling out from under the rock and stretching casually across t
he grass. As she would come to know Ambrose Pike better over time, she would learn that he was a great one for throwing himself down wherever and whenever he wanted to rest. He would even collapse happily on a carpet in a formal drawing room if the mood struck—particularly if he was enjoying his thoughts and the conversation. The world was his divan. There was such a freedom in it. Alma could not imagine ever feeling so free. On this day, while he sprawled, she sat carefully on a nearby rock.
Mr. Pike was considerably older, Alma could see now, than he had initially appeared. Well, naturally he was—there was no way he could have created such a vast body of work had he been so young as he first seemed. It was only his enthusiastic posture and his brisk walking pace that made him resemble a university student from a distance. That, and his humble brown attire—the very uniform of an impecunious young scholar. Up close, though, one could see his age—especially as he lay in the sun, flopped across the grass without his hat on. His face was faintly lined, tanned and freckled by years of weather, and the sandy hair at his temples was turning gray. Alma would have put him at thirty-five years old, or maybe thirty-six. More than ten years younger than she, but still, no child.
“What profound reward you must glean from studying the world so closely,” Ambrose went on. “Too many people turn away from small wonders, I find. There is so much more potency to be found in detail than in generalities, but most souls cannot train themselves to sit still for it.”
“But sometimes I fear that my world has become too detailed,” Alma said. “My books on mosses take me years to write, and my conclusions are excruciatingly intricate, not unlike those elaborate Persian miniatures one can study only with a magnifying lens. My work brings me no fame. It brings me no income, either—so you can see I am using my time wisely!”
The Signature of All Things Page 23