A Palace of Art

by J. I. M. Stewart

  Copyright & Information

  A Palace of Art

  First published in 1972

  Copyright: John Stewart Literary Management Ltd. 1972-2012

  All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

  The right of J.I.M. Stewart to be identified as the author of this work has been asserted.

  This edition published in 2012 by House of Stratus, an imprint of

  Stratus Books Ltd., Lisandra House, Fore Street, Looe,

  Cornwall, PL13 1AU, UK.

  Typeset by House of Stratus.

  A catalogue record for this book is available from the British Library and the Library of Congress.

  EAN ISBN Edition

  0755130375 9780755130375 Print

  0755133331 9780755133338 Kindle

  0755133641 9780755133642 Epub

  This is a fictional work and all characters are drawn from the author’s imagination.

  Any resemblance or similarities to persons either living or dead are entirely coincidental.

  www.houseofstratus.com

  About the Author

  John Innes Mackintosh Stewart (who also wrote as Michael Innes) was born in Edinburgh where his father was Director of Education. He attended Edinburgh Academy before going up to Oriel College, Oxford where he was awarded a first class degree in English and won the Matthew Arnold Memorial Prize and was named a Bishop Frazer scholar. After a short interlude travelling with AJP Taylor in Austria, including studying Freudian psychoanalysis for a year, he embarked on an edition of Florio’s translation of Montaigne’s Essays. This subsequently helped him secure a post teaching English at Leeds University.

  In 1932, Stewart married Margaret Hardwick, who practised medicine, and they subsequently had three sons and two daughters. By 1935, he had been awarded the Jury Chair at the University of Adelaide in Australia as Professor of English and had also completed his first detective novel, ‘Death at the President’s Lodging’, published under the pseudonym ‘Michael Innes’. This was an immediate success and part of a long running series centred on ‘Inspector Appleby’, his primary character when writing as ‘Innes’. There were almost fifty titles completed under the ‘Innes’ banner during his career.

  In 1946, he returned to the UK and spent two years at Queen’s University in Belfast, before being appointed Student (Fellow and Tutor) at Christ Church, Oxford. He was later to hold the post of Reader in English Literature of Oxford University and upon his retirement was made an Emeritus Professor. Whilst never wanting to leave his beloved Oxford permanently, he did manage to fit into his busy schedule a visiting Professorship at the University of Washington and was also honoured by other Universities in the UK.

  Stewart wrote many works under his own name, including twenty-one works of fiction (which contained the highly acclaimed quintet entitled ‘A Staircase in Surrey’, centred primarily in Oxford, but with considerable forays elsewhere, especially Italy), several short story collections, and over nine learned works on the likes of Shakespeare, Kipling and Hardy. He was also a contributor to many academic publications, including a major section on modern writers for the Oxford History of English Literature. He died in 1994, the last published work being an autobiography: ‘Myself and Michael Innes’.

  J.I.M. Stewart’s fiction is greatly admired for its wit, plots and literary quality, whilst the non-fiction is acknowledged as being definitive.

  Part I

  Chapter One

  A PARTY AT NUDD

  Every now and then Mrs Montacute gave the sort of party that was now beginning. She expected people to come anything up to seventy miles (which was the distance from London) in order to attend. More often than not they did, although all that was on offer was a glass or two of indifferent champagne and a stroll round Nudd. The stroll was the draw, for Mrs Montacute had contrived that the house should enjoy all the celebrity it deserved. At least she had contrived that it should enjoy this so far as the moneyed classes were concerned. It was not her policy to set up turnstiles and admit the populace to her collection at so much a head. Her solicitor, Mr Thurkle, had urged upon her that there is a good deal more in civic benevolence of this kind than the mere takings at the door, since if you submit to the discomforts of living virtually in a public museum it is only just that you should conceive yourself entitled to attract less taxation than if you do not. Mrs Montacute was scarcely the sort of woman who needed such matters explaining to her. She had a good business head. Her policy, she pointed out to her adviser, was one of exclusivity – a hideous word, the hinterland to which was her belief that the very wealthiest Americans have a fondness for competing in markets inaccessible and even unknown to common collectors. It was wholesome that such should be persuaded that the mere entreé to Nudd was to be achieved only by means of quasi-diplomatic representations made through their Embassy in Grosvenor Square.

  This was not one of the musical parties. The musical parties were grander affairs, and happened about twice a year. Although not herself musical, Mrs Montacute was careful to ensure that the strains dispensed on these occasions were the best that the market could supply, and moreover it was a token of that flair for blending and matching and harmonising beautiful things which Nudd everywhere made manifest, that at the musical parties the quality of the champagne distinguishably went up. The function of the musical parties was to suggest that Nudd was a centre of aesthetic cultivation in the widest sense, or in the widest sense compatible with an overriding dedication to an elitest view of things in general. Parties like the present were simply designed as a reminder that when Nudd went under the hammer, everybody with money to burn upon the altar of art would want to be there.

  Lambert Domberg (who would certainly want to be there) drew his car to a halt on the brow of the hill. It was not that they were too early, for guests could be seen already wandering on the low mellow terrace which alone Nudd interposed between itself and the tranquil Evenlode. It was rather that, being accompanied by Octavius Chevalley, who had recently become an employee of his firm, it was his impulse to afford the young man a leisured view of what might be called a ‘prospect’ in more than one sense of the word. Had Satan condescended to be accompanied by a stripling aide-de-camp on his hazardous reconnaissance, it would have been thus that, pausing upon Mount Niphates, he would have pointed to the beckoning spoil below.

  ‘A palace of art,’ Domberg said. Except to those of his clients who might be disconcerted by it, Domberg seldom spoke without irony. In the firm it was understood that, being a scholar by training, he found the whole business of chaffering in masterpieces demeaning, and that it was a sensitive spirit which was defending itself in this way.

  Nobody in the concern took offence. For one thing, Domberg was effectively the boss. For another, everybody was prosperous, and therefore tolerance was easy.

  ‘I don’t call it much of a palace,’ Chevalley said. ‘It’s just a manor house on rather a large scale.’

  ‘If not a palazzo, a palazzina. Or, say, a palazzotto.’ Dictionary patter of this sort was also characteristic of Domberg; Chevalley, who had put effort into learning Italian genuinely and well, didn’t care for such paltry displays at all. ‘It’s all very compassable, no doubt,’ Domberg went on concessively. ‘But there’s not much that isn’t superb. A kind of Mauritshuis, say.’

  ‘But surely not full of boring Dutchmen?’ Chevalley was dismayed. ‘Cuyp, and all that – globular women milking rectangular cows?
’

  ‘No, no. Simply the impression of things decidedly picked. The salon carré effect.’

  ‘So I’ve heard.’ Chevalley, who was not very much attending to these exchanges, fell silent as he studied Nudd Manor.

  It was apple-pie all around and spick-and-span all over, as such places in the Cotswolds tend to be. Pitched at a just remove from the village over which it presided, its finely proportioned intricacies of buffy stone nevertheless gave the appearance of having generously broadcast the influence of their own high amenity. There were several other houses of some consequence and an equal antiquity, and in point of up-keep each might have been described as very consciously up-keeping with the others. Everywhere the lawns were velvety, the shrubs clipped, the trees (like not a few of their owners) assisted by unobtrusive surgery to preserve shapeliness into old age. The humbler dwellings – or those in which there had been some original intention of housing the industrious poor – were well-groomed rather than neat, and their little gardens had been gentrified as effectively as had their low parlours, large-ovened kitchens, and garret bedrooms hazardous to the heads of all save dwarfs. The entire spectacle was very much en suite, and viewed from a slight elevation could thus be suggestive of the superior accommodations of an ocean liner or the lounge of a large hotel. Alternatively, you might suppose that you were in the presence of an expensive toy, and that each of these smaller architectural gems was pick-uppable, and fittable into or around the main fabric of Nudd Manor itself – to the achieving of something like a palace after all.

  And the palace-image must, it seemed, have remained in Chevalley’s head.

  ‘Your palace of art,’ he asked, ‘does it run to a high-born maiden?’

  ‘Ah, that’s to get your poets mixed up, isn’t it? But, roughly speaking, yes. There’s a daughter, although I don’t recall her name. I’ve had a mere glimpse of her, indeed.’ Domberg made to drive on, and then thought better of it and produced a cigarette-case. ‘But a mere glimpse authenticates her maidenhood – or at least its extreme probability. As for being high-born, that pitches it a little steeply. Say respectably connected, like the rest of us, my dear lad. And her late father, Nicholas Montacute, achieved moderate affluence in the City.’

  ‘Moderate? Then where did the money for all that come from?’ Asking this, Chevalley made a gesture designed to penetrate within Mrs Montacute’s dwelling rather than wave around it. ‘Even if this woman has an eye like a hawk, and phenomenal sensibility, and heaven knows what training, and is an inspired snapper up—’

  ‘All that is complete rot. I’ve forgotten if you smoke?’

  For a moment Chevalley appeared to have forgotten too. Then he shook his head.

  ‘Thank you, no … rot?’

  ‘Between you and me, yes. Our Mrs Montacute is an aesthetic imbecile. There’s no more crassly tasteless woman in England.’

  Then, dash it all—’ Chevalley’s tone signalled indignation as well as surprise. His companion had made quite a thing of having gained permission to present him to the chatelaine of Nudd. ‘You mean she isn’t what she’s supposed to be – a genius who puts one pot beside another and achieves—’

  ‘Absolute poppycock, but a useful piece of mythology. Increasingly, the collection as a whole becomes more valuable than the sum of its parts – because of this wand she waves over it all. Or, better than wand, say the finger of taste. Nudd as a going concern, a composed entity, might one day fetch the moon. One thinks of all sorts of possibilities. The University of Texas might buy it absolutely on the hoof – they probably go in for hooves in the largest way in Texas – as a rest-home for jaded professors.’

  ‘I’m told the bottom is dropping out of that foreign campus racket. American universities are running short of cash.’

  ‘True enough.’ Domberg reinforced his agreement with a gesture. ‘Still, the place has capabilities, as Mr Brown would have said.’

  ‘The woman’s on the make?’

  ‘Tremendously. She is a culminating point in the whole shambles, my dear Octavius, to which your young life is beginning to dedicate itself.’

  ‘Well, thank you for bringing me down. Mrs Montacute ought to be worth meeting.’ Chevalley spoke cautiously, as if not sure how to regard a stance in the shambles so double-faced as that of his principal. ‘And at least it’s a nice day – and a pleasant scene.’

  ‘Meaning a well-heeled scene,’ Domberg said easily, and sent a puff of Turkish tobacco in the direction of Nudd and its demesne. ‘But familiar enough, I suppose. Those little rentiers’ paradises – you’ve been brought up to them, haven’t you?’

  ‘Anything Nudd-like I’ve known – and it was quite a bit, I agree – has all gone up the spout.’ Chevalley laughed awkwardly. ‘And no less vulgar phrase will do. Although my grandfather, as a matter of fact, was known in the family as the Grand Hypothecator.’

  ‘Very amusing,’ Domberg said – and added sourly: ‘If you are to redeem his pledges by peddling pictures, you’ll have to work damned hard.’

  ‘Oh, I quite mean to do that. An eighth child, you know, decidedly confronts the world.’ Chevalley stretched himself demonstratively – an exercise which the ample dimensions of Domberg’s car made feasible as he sat. ‘And now explain to me, please. If the late Nicholas Montacute was something short of a millionaire, and if his widow is as you say she is, how do we come to be confronted with what we are going to be confronted with when we run down this hill and up that dressy little drive? I’m all agog to know.’

  ‘Nudd and its contents came to Mrs Montacute from an eccentric uncle – horribly eccentric, he appears to have been, but savingly wealthy as well. He’d travelled, and he’d collected – intelligently and pertinaciously, and with no shrinking from writing what, for the period, must have seemed pretty big cheques. Then he got it into his head that his niece had married a man of taste.’

  ‘Had she?’

  ‘In a very limited way, yes. Nicholas Montacute was of a type still much around, and which you will be meeting up with often enough. He had a fancy for the sale-rooms, and for being known there, and known by people like ourselves. He’d pick things up, and get the hang of them, and then pick up a few more. There must have been some faint grace in him, I’d suppose, although I doubt whether he’ll be accounted more than a straight Philistine at the Last Trump. It was probably to people on golf-courses that he boasted of the last bit of Limoges, or the last Tompion, or the last Palmer or Varley or whatever, that he’d sunk money in.’

  ‘How awful! And his wife’s eccentric uncle was taken in?’

  ‘Apparently so. Hugo Counterpayne – that was his name – left the Montacutes Nudd and all the art stuff – and nothing else. To a nephew, Cedric Counterpayne, his only other relation, he left a considerably more substantial fortune in the prosaic form of stocks and shares. But since then, the objects you will presently be admiring must have increased in value by ten or twentyfold, whereas the other fortune is averred to have done not too well. There’s said to be family dissension as a result. But that’s no concern of ours.’

  ‘Obviously not. And the Montacutes hung on? They didn’t realise on their windfall?’

  ‘Not on a single scrap of it, so far as anybody knows. Just an occasional astute addition here and there.’

  ‘It must have come uncommonly expensive.’

  ‘It must, indeed. She’s a strong-minded woman.’

  ‘Was he a strong-minded man?’

  ‘That’s improbable. Mrs Montacute master-minded the thing. Or mistress-minded it.’ Domberg paused on this joke, and appeared not to approve of it. ‘Of course they had only one child: your high-born maiden. She probably wasn’t all that expensive. And then, before Nicholas Montacute could get restive, he died.’

  ‘The stuff being legally all his wife’s?’

  ‘Certainly. No death duties yet – which is why everything is still intact in the house down there.’

  ‘Well, she’ll have to die. How old is she?’


  ‘Not nearly old enough to make the fact of her mortality particularly interesting. Moreover, it isn’t her plan.

  Too unspectacular to attract her, I’d say.’

  ‘Dying? Then what is her plan?’

  ‘Selling out – at the top of the market. She studies it like mad. And does all this’—Domberg eyed the guests on the distant terrace— ‘in the interest of the projected exercise.’

  ‘Have you much of a notion of what it would knock down at now?’

  ‘I’d suppose it would top the three million mark.’

  A statement like this is liable to produce silence. Chevalley’s lips discernibly rounded, indeed, as if it was his intention to offer a low whistle. But he opted for the more restrained effect of elevating his eyebrows.

  ‘But the insurance!’ he presently said. ‘If there is insurance.’

  ‘Quite so. And the woman is said to have pinched and scraped. It has become a consuming passion with her.’

  ‘But not of the high aesthetic kind?’

  ‘There is almost something aesthetic about it.’ Domberg paused, and switched on his engine. ‘Because of its purity,’ he added gnomically.

  ‘Is it all because of her daughter, would you say?’ A fresh aspect of the matter appeared to have struck Chevalley with some force. ‘Mrs Montacute is determined to make the high-born maiden a great heiress?’

  ‘The child must be called that already – provided she is to inherit all this wealth, whether in one form or another. But I suppose Mrs Montacute can do what she likes with it. And as to the extent of her devotion to the girl, I just don’t know. One doesn’t see how holding on – holding out, as it pretty well is – will be of much ultimate practical advantage to anybody. It’s a matter of pride, it seems to me. The Nudd sale is going to mark the very crest of the wave. After that, the deluge.’