“Practically, yes,” replied Lilith. “And why not? He makes things that he wants people to buy. Surely it is only reasonable that he should consider the needs and the wishes of the buyers. And all good craftsmen do. Chippendale’s chairs were not only good to look at; they were comfortable to sit on and serviceable in use. The only difference between an artist craftsman and a commercial producer is that the artist always does his best, for his own satisfaction apart from the question of payment; whereas the commercial producer thinks of the profit only, and turns out the worst stuff that the buyer will put up with.”
“But surely an artist may choose what he will make,” said I.
“Of course he may,” replied Lilith, “if he is willing to keep the thing when he has made it. Not if he is going to ask someone to pay him money for it.”
I was inwardly somewhat taken aback by this exhibition of hard-headed reasonableness on the part of the mystical Lilith; so much so that, when she had gone to her room, I remarked on it to Miss Finch.
“Yes,” she agreed; “Lilith is an extraordinary girl. In fact, there seem to be two Liliths; one is as cranky as a March hare, and the other is perfectly sane and really very shrewd. I sometimes wonder whether she really believes in all that crystal-gazing tosh and telepathic bunkum. But she practices what she has just been preaching. She does her fashion-plates according to orders—but ever so much better than she need—and does other work to please herself and is content to keep it. You should look in at her studio and see her at work; then you’d understand.”
“And you think I had better take her advice?”
“I do. First catch your dealer; and if he wants to keep you turning out the same things over and over again, try to catch another dealer who wants something different. The great thing is to get a market. It’s frightfully disheartening to keep on doing good work and having it all left on your hands.”
Impressed by this wise counsel, I betook myself after supper to my workshop and reviewed my stock. A month’s work had produced no great accumulation, for I was still a slow worker, though the continuous practice was improving that. On the other hand, I had brought with me a certain number of unfinished pieces as well as some of my finished work; so that I had enough to give Mr. Campbell the means of judging my capabilities. When I had looked over the collection and withdrawn one or two pieces that were not up to my present standard, I packed the approved specimens in a hand-bag which I took up with me in readiness for the morrow. I was just opening the door of my room when Lilith came running up the stairs.
“You see,” I said, holding up the hand-bag. “I am acting on your advice. I have packed up a selection from my stock to take to the dealer tomorrow morning.”
“I am glad of that,” said she. “The business side of art is tedious and disagreeable, but you have got to sell if you are to live by your work. Would you mind giving me a private view of your masterpieces?”
“I shall be proud to show them to you,” I replied, conducting her into my room and placing the arm-chair by the table, “Let us put out the whole collection.”
I emptied the bag of its contents, which I set out on the table to the best advantage, and she examined the pieces one by one.
“They are charming,” she exclaimed, enthusiastically. “I can’t judge the work, though it looks most expert to my inexpert eye, but the design is delightful. They are all so individual and full of character, and so simple and restrained. You have a fine colour-sense, too. I think your use of enamel quite masterly, and I like your employment of bronze in place of the precious metals. It is fortunate that your dealer is a Scotchman, for the Jews, from Solomon downwards, have always had a leaning towards gold.”
“Yes,” said I; “bronze is my favourite material, even for personal ornaments. And it is capable of great variety in the patina, especially if one uses the Japanese methods of surface treatment. I wish it took the enamel better.”
“You seem to have overcome the difficulties pretty completely,” said Lilith. “This pendant, for instance, is beautiful, and so is the belt-clasp. Do you know, Sibyl, I think we might collaborate. Some of my designs might very well include metal ornaments—clasps, buckles, and buttons forming part of the decorative scheme. We must talk it over. And now, my dear Sibyl, I want to say something to you—something quite serious—and I want you to listen without prejudice.”
I looked at her, and was instantly aware of a change that had come over her. The shrewd, businesslike, capable Lilith had suddenly become transformed into the mystic—wide-eyed, dreamy, yet intense.
“I have avoided talking to you about the things that are to me the great things of life,” she said in low, earnest, tones. “I have wished to, but I have been fearful of intruding on your strongly individual, self-contained personality. But I have felt that you have great gifts—great psychic gifts. You are a woman of power. The common herd live their little lives locked up in the prison of the visible and the conscious. If they would convey their thoughts to other minds they must use the unwieldy means of speech and visible signs. What they know of their fellow-immortals reaches them crudely through the organs of sense; and through those primitive and inadequate media they must needs communicate with others, bound by the limitations of time and space and mere material contact—at least, so long as they are prisoned within a material body. But there are others for whom no such limitations exist; specially gifted souls who can see without mere material eyes, who can hear without ears, who can speak their thoughts across the gulfs of time and space; who can look into the remote past, and even into the future; who can make their will-power operate at limitless distances and without the aid of gross bodily action. And you are one of these, Sibyl. I am convinced that you are endowed with these powers. But they are latent, unsuspected, because you have never tried to exercise them; because you have never sought to bring the subconscious within the domain of the conscious, or rather to make a contact between the two.”
To this strange and rather wild harangue (which the matter-of-fact Titmouse would have called “barmy”) I listened with grave attention, though with little enough conviction—for I could not but recall my ignorance and my mistaken judgment in the greatest crisis of my life—noting how like a prophetess the picturesque Lilith looked, with her golden aureole of auburn hair and her great, blue eyes and parted lips. But I made no reply—there was, indeed, nothing to say—and after a short pause she continued:
“Don’t think I am saying this with any impertinent intention of trying to force my own views on you. I have a definite practical purpose. You are going tomorrow to make your first essay in a vitally important branch of an artist’s calling. On your success depends the possibility of your following art as a profession—that is, if you have not enough to live without work.”
“I have not,” said I.
“Then artistic success is not sufficient. You must achieve industrial success; you must get a livelihood out of your work. As far as the creation of beautiful things is concerned you are quite competent and will become more so with more practice. Now you have to learn how to dispose of those works profitably; how to make people buy them.”
“But surely that will be decided by the suitability of the things themselves.”
“Partly, no doubt. But you mustn’t leave it at that. You must learn to exercise the power of silent willing combined with suggestion.”
“I don’t think I quite understand,” said I.
“We must talk about this more fully some other time,” said Lilith, “and go into the theory and the results of experiments. For the present you must try to take my word for the fact that silent willing and suggestion are real powers. I don’t ask you to believe it without proof—I will give you the proof later—but I do beg you, dear Sibyl, to give the method a trial. If it fails in your hands you will be none the worse; but it won’t fail if you make up your mind to succeed.”
“What do you want me to do, Lilith?” I asked, not a little bit bewildered by her myste
rious and rather vague expressions.
“I will tell you what I do myself,” she replied. “When I take a batch of drawings to a publisher, I stand outside the office for five minutes and silently will that he shall accept them. Sometimes I write on a piece of paper a command to the publisher to accept my work, and while I am waiting for the interview I keep my eyes fixed on the writing and mentally endorse the command. The writing, you see, helps me to concentrate my will-power. Then, at the interview, I use the method of suggestion. Whatever the editor or publisher may say, whatever objections he may make to my work, I continue steadily to impress on him that he is going to accept it, that, in fact, he has accepted it. If he refuses it, I ignore the refusal and go on talking as if he had accepted it—not rudely, of course; one must do these things tactfully—and all the time that he is talking, I continue silently to concentrate my will-power on him.”
“And what is the result?” I asked.
“The result, my dear Sibyl, is that I sell all the drawings that I offer for sale.”
This sounded convincing enough, and would have been more so if I had not happened to know that Lilith’s drawings were of the very best of their kind, and that she submitted them to the most rigorous criticism before letting anyone see them. Still, the fact that she sold her work was undeniable, and it was impossible to say how many excellent drawings had failed to gain acceptance. Certainly every capable artist is not a successful one.
“And what is it exactly that you want me to do?” I asked.
“I want you,” she replied, “to do just what I do myself. I want you to stand outside the shop for five minutes and silently will that this dealer shall buy your work. It would probably help you if you were to write down the command and keep your eyes fixed on the writing while you are willing; but if the dealer himself should happen to be visible, it would be well to fix your eyes on him so as to direct the will-force with more precision. And when you go into the shop, keep on willing with the greatest concentration that you can command, and when you are talking to the dealer, talk as if he had bought your work; keep on impressing on him that he has bought it, and don’t take any notice of contrary statements on his part. If he seems to think that he has refused it, you must correct his mistake and guide his thoughts into the proper channels.”
I suppose I must have looked somewhat dismayed at this rather startling programme, for Lilith continued, eagerly: “Now, don’t raise objections, Sibyl, dear. It will be quite easy if you will only make up your mind. You have abundant will-power, and I am certain that you have the gift of projecting your mental states into the minds of others. And I am so anxious that you should succeed and that your great gifts should not be wasted. Say you will try, Sibyl, if only to please your friend.”
What could I do? Utterly as my mind refused to accept the connection between the alleged cause and effect, I could not say that no such connection existed. I was completely unconvinced; but my unconviction might conceivably be less rational than Lilith’s whole-hearted belief. For she declared herself able to support her belief with proof, whereas I had to admit that my scepticism was largely a matter of temperament. And she was so eager, and it was so sweet of her to be so full of anxiety on my behalf, that it would have seemed ungracious to make difficulties. The end of it was that I agreed to carry out her plan of conquest, on which she further inducted me into the arts of silent willing and suggestion and even supervised me while I wrote out, at her dictation, a peremptory command to the dealer, which I promised to use, as directed, for the reinforcement of my will-power at the appropriate time.
On the following morning, after a careful study of my father’s atlas of London, which I had brought with me from Maidstone, I set forth, hand-bag in hand and encouraged by the good wishes of my comrades and of Lilith in particular. Entering the Underground Railway at Mark Lane, I came to the surface at Charing Cross Station and bore away northwards across Leicester Square. During the journey, I had turned over in my mind the plan of attack to which I stood committed, with increasing distaste, I must admit, as the time for its execution drew nearer. And as my dislike grew, so also did my scepticism. I found myself recalling the fact that Lilith, successful as she claimed to be, was yet a fashion-plate artist very much against her own wishes, and reflecting that, if her silent willing were as efficacious as she believed it to be, she might surely compel the purchase of the kind of work that she enjoyed doing, instead of being herself compelled to follow a distasteful occupation. However, it was useless to think about it now. I had promised to give the method a trial and must carry out my promise.
These reflections brought me to the bottom of Wardour Street, and my attention was now fully occupied by the search for Mr. Campbell’s shop. Mr. Otway had omitted to give me the number of the house, but I remembered his saying that it was on the west side near the Oxford Street end; so I walked slowly up the east side and scanned the shop-fronts across the road. Near the top of the street my eye lighted on a smallish shop, above the window of which was inscribed in faded gold lettering “Donald Campbell,” and I immediately crossed the road, becoming aware as I did so of a sudden access of nervousness. For this was a new experience to me. Hitherto all my transactions with shopkeepers had been in the character of a purchaser; and my transformation into a vendor was accompanied by a diffidence and shyness that I had not expected or foreseen. Indeed, in the course of that short journey across the road, my bashfulness increased so much that I had nearly forgotten my promise to Lilith and was on the point of entering the shop when it flashed into my mind.
But even when I recalled Lilith’s instructions, they were not easy to carry out. I swerved from the shop door to the side of the window and stood there trying to concentrate my will-power. But it would not be concentrated. In the window was displayed a fascinating array of base metal spoons which instantly riveted my attention; particularly a set of the late seventeenth century, wrought in a fine-coloured latten, and exhibiting in a most charming manner the combined effect of delicate workmanship, with the patina of age and the softening of outlines from use and wear.
Unconsciously, I had begun to compare them with my own cruder productions before I realized that my will-power had escaped control. Then I jerked myself back from the spoons to my present task, and, hastily drawing the paper from my pocket, fixed my eyes on the written command and struggled to concentrate my thoughts on it and to suppress a growing consciousness of the absurdity of the whole proceeding. Presently I raised my eyes from the paper, and as they sought to dodge the spoons, they encountered another object equally disturbing. “It was only a face at the window,” as the ridiculous song has it, but it instantly engrossed my attention and transported me in spirit, not to any Highland glen, but straight away to the banks of the Jordan; a fattish face, framed with glossy, black hair that broke out at the temples into rows of little crisp curls like a barrister’s wig; a face with small, grey eyes, full under the lids, and surmounted by strong, black eyebrows, with full, red lips and a rather sketchy nose of the general form of a William pear with the stalk uppermost. It was clearly not Mr. Campbell’s face, but it appertained to the establishment; and, recalling Lilith’s instructions to direct my will power with more precision by fixing my eyes on the dealer, I directed a stony stare at the face and willed silently. But here I was countered again; for the owner of the face was also apparently possessed of psychic gifts, and fixed on me a gaze of such intensity that I was covered with confusion. On this I straightway forgot all about will-power, and, hastily pocketing the paper, walked nervously and guiltily into the shop.
The proprietor of the face confronted me impassively across the counter; and such was my trepidation that, although he obviously was not Mr. Campbell, I could think of nothing better than to ask him if he was; whereupon he completed my discomfiture by replying in the affirmative.
“I am Mrs. Otway,” said I; at which he suddenly grew keenly attentive, and I continued: “I understand that Mr. Otway—Mr. Lewis Otway—has w
ritten to you about me. I had a letter from him to that effect.”
“Yes,” said Mr. Campbell, “he has; and, if I remember rightly, he suggested that I might be able to dispose of some of your work. I think he said you did some repoussé or something of the kind.”
Apparently Mr. Campbell was preparing to treat me as an amateur, and my work as the product of a hobby. This would not do at all. Before saying anything further, I opened my bag and handed out the pieces one by one, setting them on the counter before him.
“Oh!” said he. “Yes; ha—hum; this isn’t exactly what I expected.” He picked up a teaspoon, turned it over between his fingers, closely examined the joining of the shank and bowl and the little bust that formed the knob, and then held it at arm’s length with his head on one side. There was something in the action and the facial expression that accompanied it which encouraged me even before he spoke.
“Nithe thpoon that,” was his comment as he laid it down (I observed that he tended to develop a lisp when preoccupied or off his guard); “well made, well designed; quite original, too. Spoons are my fancy—you saw that set in the window. If I could afford it, I would specialize in them more than I do. Not but what I’m fond of all goldsmith’s work if it’s good—or any other art work, for that matter; but I do love a good spoon.”
This was pleasant hearing, for I had a weakness for spoons myself. They are useful objects, they admit of infinite variety in design, and their small size adapted them peculiarly to my rather limited resources.
“But there is one thing that you must bear in mind,” continued Mr. Campbell. “Single spoons are not very saleable unless they are antique or collectors’ pieces. Modern spoons are bought for use as well as ornament, and buyers like them in sets; not all alike, of course, but with a general design running through the set. Twelve spoons, all different, but all brothers; that’s what they want.”
“Like the apostle sets,” said I.
The First R. Austin Freeman Megapack: 27 Mystery Tales of Dr. Thorndyke & Others Page 206