Then there was the plaster work. Both men used plaster, and I was very glad to learn the technique of mixing, pouring and trimming. Occasionally, Gannet would make a plaster mould of a successful bowl or jar (much to my surprise, for it seemed totally opposed to his professed principles) and "squeeze" one or two replicas; a process in which I assisted until I became quite proficient. I helped Boles to fire his queer-looking enamel plaques and to cast his uncouth gold ornaments and took over some of the pickling and polishing operations. And then, finally, there was the kiln, which interested me most of all. It was a coal-fired kiln and required a great deal of attention both before and during the firing. The preparation of the kiln Gannet attended to himself, but I stood by and watched his methods; observed the way in which he stacked the pieces, bedded in ground flint or bone-ash—he mostly used bone-ash—in the "saggars" (fire-clay cases or covers to protect the pieces from the flames) and at length closed the opening of the kiln with slabs of fire-clay.
But when the actual firing began, we were all kept busy. Even Boles left his work to help in feeding the fires, raking out the ashes and clearing the hearths, leaving Gannet free to control the draught and modify the fire to the required intensity. I was never able to observe the entire process from start to finish, for even at this time my practice called for some attention; but I was present on one occasion at the opening of the kiln—forty-eight hours after the lighting of the fires—and noted the care with which Gannet tested the temperature of the pieces before bringing them out into the cool air.
One day when I was watching him as he built up a wide-mouthed jar from a rough drawing—an extraordinarily rough drawing, very unskilfully executed, as I thought—which lay on the bench beside him, he made a new suggestion.
"Why shouldn't you try your hand at a bit of pottery, Doctor?" said he. "Just a simple piece. The actual building isn't difficult and you've seen how I do it. Get some of the stoneware body out of the bin and see what sort of job you can make of it."
I was not very enthusiastic about built pottery, for recently I had purchased a little treatise on the potter's art and had been particularly thrilled by the directions for "throwing on" the wheel. I mentioned the fact to Gannet, but he gave me no encouragement. For some reason he seemed to have an invincible prejudice against the potter's wheel.
"It's all right for commercial purposes," said he, "for speed and quantity. But there's no soul in the mechanical stuff. Building is the artist's method; the skilled hand translating thought directly into form."
I did not contest the matter. With a regretful glance at the wheel, standing idle in its corner, I fetched a supply of the mixed clay from the bin and proceeded to roll it into cords on the board that was kept for the purpose. But it occurred to me as an odd circumstance that, hating the wheel as he appeared to, he should have provided himself with one.
"I didn't buy the thing," he explained, when I propounded the question. "I took over this studio as a going concern from the executors of the previous tenant. He was a more or less commercial potter and his outfit suited his work. It doesn't suit mine. I don't want the wheel or that big mixing mill and I would sooner have had a smaller, gas-fired kiln. But the place was in going order and I got it dirt cheap with the outfit included, so I took it as it was and made the best of it."
My first attempt, a simple bowl, was no great success, being distinctly unsymmetrical and lopsided. But Gannet seemed to think quite well of it—apparently for these very qualities—and even offered to fire it. However, it did not satisfy me, and eventually I crumpled it up and returned it to the clay-bin, whence, after re-moistening, it emerged to be rolled out into fresh coils of cord. For I was now definitely embarked on the industry. The work had proved more interesting than I had expected, and as usually happens in the case of any art, the interest increased as the difficulties began to be understood and technical skill developed and grew.
"That's right, Doctor," said Gannet. "Keep it up and go on trying; and remember that the studio is yours whenever you like to use-it, whether I am here or not." (As a matter of fact, he frequently was not, for both he and Boles took a good many days off, and rather oddly, I thought, their absences often coincided.) "And you needn't trouble to come in through the house. There is a spare key of the wicket which you may as well have. I'll give it to you now."
He took a couple of keys from his pocket and handed me one, whereby I became, in a sense, a joint tenant of the studio. It was an insignificant circumstance, and yet, as so often happens, it developed unforeseen consequences, one of which was a little adventure for the triviality of which I offer no apology since it, in its turn, had further consequences not entirely irrelevant to this history.
It happened that on the very first occasion on which I made use of the key, I found the studio vacant, and the condition of the benches suggested that both my fellow tenants were taking a day off. On the bench that I used was a half-finished pot, covered with damp cloths. I removed these and fetched a fresh supply of moist clay from the bin with the intention of going on with the work, when the wheel happened to catch my eye; instantly I was assailed by a great temptation. Here was an ideal opportunity to satisfy my ambition; to try my prentice hand with this delightful toy, which, to me, embodied the real romance of the potter's art.
I went over to the wheel and looked at it hungrily. I gave it a tentative spin and tried working the treadle, and finding it rather stiff, fetched Boles's oil can and applied a drop of oil to the pivots. Then I drew up a stool and took a few minutes' practice with the treadle until I was able to keep up a steady rotation. It seemed quite easy to me, as I was accustomed to riding a bicycle, and I was so far encouraged that I decided to try my skill as a thrower. Placing a basin of water beside the wheel, I brought the supply of clay from the bench, and working it into the form of a large dumpling, slapped it down on the damped hardwood disc, and having wetted my hands, started the rotation with a vigorous spin.
The start was not a perfect success, as I failed to centre the clay ball correctly and put on too much speed, with the result that the clay flew off and hit me in the stomach. However, I collected it from my lap, replaced it on the wheel-head, and made a fresh start with more care and caution. It was not so easy as it had appeared. Attending to the clay, I was apt to forget the treadle, and then the wheel stopped; and when I concentrated on the treadle, strange things happened to the clay. Still, by degrees, I got the "hang" of the process, recalling the instructions in my handbook and trying to practice the methods therein prescribed.
It was a fascinating game. There was something almost magical in the behaviour of the revolving clay. It seemed, almost of its own accord, to assume the most unexpected shapes. A light pressure of the wet hands and it rose into the form of a column, a cylinder or a cone. A gentle touch from above turned it miraculously into a ball; and a little pressure of the thumbs on the middle of the ball hollowed it out and transformed it into a bowl. It was wonderful and most delightful. And all the transformations had the charm of unexpectedness. The shapes that came were not designed by me; they simply came of themselves, and an inadvertent touch instantly changed them into something different and equally surprising.
For more than an hour I continued, with ecstatic pleasure and growing facility, to play this incomparable game. By that time, however, signs of bodily fatigue began to make themselves felt, for it was a pretty strenuous occupation, and it occurred to me that I had better get something done. I had just made a shallow bowl (or, rather, it had made itself), and as I took it gently between my hands, it rose, narrowed itself, and assumed the form of a squat jar with slightly in-turned mouth. I looked at it with pleased surprise. It was really quite an elegant shape and it seemed a pity to spoil it by any further manipulation. I decided to let well alone and treat it as a finished piece.
When I took my foot off the treadle and let the wheel run down, some new features came into view. The jar at rest was rather different from the jar spinning. Its surface was scor
ed all over with spiral traces of "the potter's thumb," which stamped it glaringly as a thrown piece. This would not quite answer my purpose, which was to practice a playful fraud on Peter Gannet by foisting the jar on him as a built piece. The telltale spirals would have to be eliminated and other deceptive markings substituted.
Accordingly, I attacked it cautiously with a modeling tool and a piece of damp sponge, stroking it lightly in vertical lines and keeping an eye on one of Gannet's own jars, until all traces of the wheel had been obliterated and the jar might fairly have passed for a hand-built piece. Of course, a glance at the inside, which I did not dare to touch, would have discovered the fraud, but I took the chance that the interior would not be examined.
The next problem was the decoration. Gannet's usual method—following the tradition of primitive and barbaric ornament—was either to impress an encircling cord into the soft clay or to execute simple thumb-nail patterns. He did not actually use his thumb-nail for this purpose. A bone mustard-spoon produced the same effect and was more convenient. Accordingly I adopted the mustard-spoon, with which I carried a sort of rude guilloche round the jar, varied by symmetrically placed dents, made with the end of my clinical thermometer. Finally, becoming ambitious for something more distinctive, I produced my latch-key, and, having made a few experiments on a piece of waste clay, found it quite admirable as a unit of pattern, especially if combined with the thermometer. A circle of key impressions radiating from a central thermometer dent produced a simple but interesting rosette which could be further developed by a circle of dents between the key-marks. It was really quite effective, and I was so pleased with it that I proceeded to enrich my masterpiece with four such rosettes, placing them as symmetrically as I could (not that the symmetry would matter to Gannet) on the bulging sides below the thumb-nail ornaments.
When I had finished the decoration and tidied it up with the modeling tool I stood back and looked at my work, not only with satisfaction but with some surprise. For, rough and crude as it was, it appeared to my possibly indulgent eye quite a pleasant little pot; and comparing it with the row of Gannet's works which were drying on the shelf, I asked myself once again what could be the alleged subtle qualities imparted by the hand of the master?
Having made a vacancy on the shelf by moving one of Gannet's pieces from the middle to the end, I embarked on the perilous task of detaching my jar from the wheel-head. The instrument that I employed was a thin wire with a wooden handle at each end, which we used for cutting slices of clay; a dangerous tool, for a false stroke would have cut the bottom off my jar. But Providence, which—sometimes—watches over the activities of the tyro, guided my hand, and at last the wire emerged safely, leaving the jar free of the surface to which it had been stuck. With infinite care and tenderness—for it was still quite soft—I lifted it with both hands and carried it across to the shelf, where I deposited it safely in the vacant space. Then I cleaned up the wheel, obliterating all traces of my unlawful proceedings, threw my half-finished built piece back into the clay-bin, and departed, chuckling over the surprise that awaited Gannet when he should come to inspect the pieces that were drying on the shelf.
As events turned out, my very mild joke fell quite flat, so far as I was concerned, for I missed the denouement. A sudden outbreak of measles at a local school kept me so busy that my visits to the studio had to be suspended for a time, and when at last I was able to make an afternoon call, the circumstances were such as to occupy my attention in a more serious and less agreeable manner. As this episode was later to develop a special significance, I shall venture to describe it in some detail.
On this occasion, I did not let myself in, as usual, by the wicket, for at the end of Jacob Street I overtook Mrs. Gannet and we walked together to the house, which I entered with her. It seemed that she had some question to ask her husband, and when I had opened the side door, she came out to walk with me across the yard to the studio. Suddenly, as we drew near to the latter, I became aware of a singular uproar within; a clattering and banging, as if the furniture were being thrust about and stools overturned, mingled with the sound of obviously angry voices. Mrs. Gannet stopped abruptly and clutched my arm.
"Oh, dear," she exclaimed, "there are those two men quarreling again. It is dreadful. I do wish Mr. Boles would move to another workshop. If they can't agree, why don't they separate?"
"They don't hit it off very well, then?" I suggested, listening attentively and conscious of a somewhat unfortunate expression—for they seemed to be hitting it off rather too well.
"No," she replied, "especially since—you know. Peter thinks Mr. Boles gave him the stuff, which is ridiculous, and Mr. Boles—I think I won't go in now," and with this she turned about and retreated to the house, leaving me standing near the studio door, doubtful whether I had better enter boldly or follow the lady's discreet example and leave the two men to settle their business.
It was very embarrassing. If I went in, I could not pretend to be unaware of the disturbance. On the other hand, I did not like to retreat when my intervention might be desirable. Thus I stood hesitating between considerations of delicacy and expediency until a furious shout in Boles's voice settled the question.
"You're asking for it, you know!" he roared; whereupon, flinging delicacy to the winds, I rapped on the door with my knuckles and entered. I had opened the door deliberately and rather noisily and I now stood for a few moments in the dark lobby behind the curtain while I closed it after me in the same deliberate manner to give time for any necessary adjustments. Sounds of quick movement from within suggested that these were being made, and when I drew aside the curtain and stepped in, the two men were on opposite sides of the studio. Gannet was in the act of buttoning a very crumpled collar and Boles was standing by his bench, on which lay a raising hammer that had a suspicious appearance of having been hastily put down there. Both men were obviously agitated: Boles, purple-faced, wild-eyed and furiously angry; Gannet, breathless, pale and venomous.
I greeted them in a matter-of-fact tone as if I had noticed nothing unusual, and went on to excuse and explain the suspension of my visits. But it was a poor pretense, for there were the overturned stools and there was Boles, scowling savagely and still trembling visibly, and there was that formidable-looking hammer the appearance of which suggested that I had entered only just in time.
Gannet was the first to recover himself, though even Boles managed to growl out a sulky greeting, and when I had picked up a fallen stool and seated myself on it, I made shift to keep up some sort of conversation and to try to bring matters back to a normal footing. I glanced at the shelf, but it was empty. Apparently the pieces that I had left drying on it had been fired and disposed of. What had happened to my jar, I could not guess and did not very much care. Obviously, the existing circumstances did not lend themselves to any playful interchanges between Gannet and me, nor did they seem to lend themselves to anything else; and I should have made an excuse to steal away but for my unwillingness to leave the two men together in their present moods.
I did not, however, stay very long; no longer, in fact, than seemed desirable. Presently, Boles, after some restless and apparently aimless rummaging in his cupboard, shut it, locked its door, and with a sulky farewell to me, took his departure; and as I had no wish to discuss the quarrel and Gannet seemed to be in a not very sociable mood, I took an early opportunity to bring my visit to an end.
It had been a highly disagreeable episode, and it had a permanent effect on me. Thenceforward, the studio ceased to attract me. Its pleasant, friendly atmosphere seemed to have evaporated. I continued to look in from time to time, but rather to keep an eye on Gannet, than to interest myself in the works of the two artists. Like Mrs. Gannet, I wondered why these two men, hating each other as they obviously did, should perversely continue their association. At any rate, the place was spoiled for me by the atmosphere of hatred and strife that seemed to pervade it, and even if the abundance of my leisure had continued—which it did not
—I should still have been but an occasional visitor.
VII. MRS. GANNET BRINGS STRANGE TIDINGS
The wisdom of our ancestors has enriched us with the precept that the locking of the stable door fails in its purpose of security if it is postponed until after the horse has been stolen. Nevertheless (since it is so much easier to be wise after the event than before) this futile form of post-caution continues to be prevalent; of which truth my own proceedings furnished an illustrative instance. For having allowed my patient to be poisoned with arsenic under my very nose, and that, too, in the crudest and most blatant fashion, I now proceeded to devote my leisure to an intense study of Medical Jurisprudence and Toxicology.
Mine, however, was not a truly representative case. The actual horse had indeed been stolen, but still the stable contained a whole stud of potential horses. I might, and probably should, never encounter another case of poisoning in the practice of a life-time. On the other hand, I might meet with one tomorrow; or if not a poisoning case, perhaps some other form of crime which lay within the province of the medical jurist. There seemed to be plenty of them, judging by the lulid accounts of the authorities whose works I devoured, and I began almost to hope that my labours in their study would not be entirely wasted.
It was natural that my constant preoccupation with the detection and demonstration of crime should react more or less on my habitual state of mind. And it did. Gradually I acquired a definitely Scotland Yardish outlook and went about my practice—not neglectful, I trust, of the ordinary maladies of my patients—with the idea of criminal possibilities, if not consciously present, yet lurking on the very top surface of the subconscious. Little did my innocent patients or their equally innocent attendants suspect the toxicological balance in which symptoms and ministrations alike were being weighed; and little did the worthy Peter Gannet guess that, even while he was demonstrating the mysteries of stoneware, my perverted mind was canvassing the potentialities of the various glazes that he used for indirect and secret poisoning.
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