The Man in the Picture by Susan Hill
And I made it my work to restore the house and everything in it to the way it had been and to undo every single change she had made, to throw out every hideous modern thing with which she had filled this place. I brought back the servants she had dismissed. It was my single-minded determination to obliterate her from Hawdon and to leave it in as near the state in which I had first seen it as I could.
I succeeded very well. I was helped by the loyal people here, who flocked back, and by friends and neighbours who sought out so many items and brought them back here, over time.
But one thing I could never trace. The Venetian picture mattered to me because ... because my husband was trapped there. My husband lived – lives, lives – within that picture.
‘I sought after it for years’, the Countess continued, ‘and then it was found for me in an auctioneer’s catalogue. I commissioned someone to attend the sale and buy it for me no matter what it cost. But as you know, things went wrong at the last minute, you bought it because my representative was not there and you would not sell it to him afterwards. That was your privilege. But I was angry, Dr Parmitter. I was angry and distressed and frustrated. I wanted that picture, my picture, and I have continued to want it for all these years. But you had disappeared. We could not trace the buyer of the picture.’
‘No. In those days, I dealt rather a lot and I bid and bought under aliases – all dealers do. The auction houses of course know one’s true identity but they never disclose that sort of information.’
‘You were Mr Thomas Joiner and Mr Joiner was never to be found. And so the matter rested. Of course I continued to hope, and friends and searchers continued to keep their eyes and ears open, but my picture had vanished together with Mr Joiner.’
‘Until you chanced to see my photograph in a magazine.’
‘Indeed. I cannot begin to describe to you my feelings on seeing the picture there – the sense of an ending, the realization that at last, at long last, my husband would in a very real sense return home to me.’
In a macabre comparison, it flashed through my mind that, to the Countess, wanting the picture back was like wanting to receive an urn full of his cremated ashes. Whatever had happened, to her he was as present in the Venetian painting as he would have been in some funereal jar.
‘I invited you here with the greatest of pleasure,’ she said now. ‘And I felt that you had every right to hear the full story and to meet me, to see this place. I could have employed some envoy – and hope that it was a more efficient one than the last time – but that was not the way I wanted to bring about a conclusion to this most important business.’
‘A conclusion?’ I said with feigned innocence. Inside me I could feel determination, that absolute and steadfast steel resolve. It was unlike me. The man you know as Theo Parmitter would most likely have not so much sold back but given back the Venetian painting. But something had possessed me there. I was not the man you knew and know.
‘I mean to have my picture. You may name your price, Dr Parmitter.’
‘But it is not for sale.’
‘Of course it is for sale. Only a fool would refuse to sell when he could name his price. You have been a dealer in pictures.’
‘No longer. The Venetian picture and all the others I have chosen to keep are my permanent collection. I value them quite beyond money. As I said, it is not for sale. I would be happy to provide you with a very good photograph. I would be glad for you to visit me in Cambridge to see it at any time to suit you. But I will never sell.’
Two points of bright colour had appeared on her high cheekbones and two points of brightness in the centre of her already piercing blue eyes. She was sitting upright, straight-backed, her face a white mask of anger.
‘I think that perhaps you do not understand me clearly,’ she said now. ‘I will have my picture. I mean it to come to me.’
‘Then I am sorry.’
‘You do not need it. It means nothing to you. Or only in the sense that it pleases you as a decoration on your wall.’
‘No. It means more than that. You must remember that I have had it for some years.’
‘That is of no consequence.’
‘It is to me.’
There was a long silence, during which she stared at me unflinchingly. Her expression was quite terrifying. She had not struck me in any case as a warm woman, though she had spoken of her sufferings and her feelings and I had sympathized with her. But there was a cold ruthlessness, a passionate single-mindedness about her now which alarmed me.
‘If you do not let me have the picture, you will live to regret your decision, regret it more than you have ever regretted anything.’
‘Oh, there is little in my life that I regret, Countess.’ I kept a tone of lightness and good humour in my voice which I most assuredly did not feel.
‘The picture is better here. It will be quite harmless.’
‘How on earth could it be anything else?’
‘You have heard my story.’
I stood up. ‘I regret that I must leave here today, Countess, and leave without acceding to your request. I found your story interesting and curious and I am grateful to you for your hospitality. I hope you may live out your days in this beautiful spot with the peace of mind you deserve after your sufferings.’
‘I will never have peace of mind, never rest, never be content, until the picture is returned to me.’
I turned away. But as I walked towards the door, the Countess said quietly, ‘And nor will you, Dr Parmitter. Nor will you.’
SEVEN
OU WILL FEEL better for having told all this to me,’ I said to Theo. He had his head back, his eyes closed, and when he had finished speaking, he had drained his whisky glass and set it down.
It was late. He looked suddenly much older, I thought, but when he opened his eyes again and looked at me there was something new there, an expression of relief. He seemed very calm.
‘Thank you, Oliver. I am grateful to you. You have done me more good than you may know.’
I left him with a light heart and took a turn or two around the college court. But tonight, all was quiet and still, there were no shadows, no whisperings, no footsteps, no faces at any lighted windows. No fear.
I slept at once and deeply, and I remember, as I dropped down into the soft cushions of oblivion, praying that Theo would do the same. I thought it most likely.
I woke in the small hours of the morning. It was pitch black and silent but as I came to, I heard the chapel clock strike three. I was sweating and my heart was racing. I had had no nightmares – no dreams of any kind – but I was in a state of abject fear. I could barely take deep breaths to calm myself. I got up and drank water, lay down again, but immediately, I was seized with the need to go down and check on Theo. The message in my head would not be ignored or dismissed. I rinsed my head under the cold tap and rubbed it vigorously dry to try and get some grip on myself and think rationally, but I could not. I was terrified, not for myself but for Theo. The story he had told me was vivid in my mind and although unburdening himself of it had clearly eased his mind greatly, I sensed that, in some terrible way, it was unfinished, that there would be more strange, dark happenings which made no sense, could not be, yet were.
I could not rest. I went down the dark staircase and along to Theo’s set. All was quiet. I put my head to the door and listened intently but there was no sound at all. I waited, wondering if I should knock, but it was bitterly cold and I had only a thin dressing gown. I turned to go but, as I did so, it occurred to me that Theo might well not lock his door. He was old and unable to move far, and looked after well by the college. I did not know how he would summon help if he were ill and could not reach the telephone.
I reached my hand out to try the door. As I touched it, there was a harsh and horrible cry from within followed by a single loud crash.
I turned the knob and found that the door was indeed unlocked. I pushed my way in and switched on the lights.
Theo
There were two things I knew I had to do. Obviously, I had to call the lodge, wake the college, set the usual business in motion. But before I did that, I had to do another thing. I dreaded it but I would never be able to rest again until I had, and, also, I felt I owed this last favour to my old tutor. I had to find out. I lifted up the picture and took it into the study where I propped it against the bookcase and turned the lamp directly onto it.
I drew in my breath and looked at the picture, knowing what I would find there.
But I did not. I searched every inch of that canvas. I looked at every face, in the crowd, in the gondolas, in the windows of the houses, in corners, down alleyways, barely visible. There was no Theo. No face remotely resembled his. I saw the young man I took to be the Countess’s young husband, and the figure in the white silk mask with the plume of white feathers in her hair which I supposed was Clarissa Vigo. But of Theo, thank God, thank God, there was no image. I realized that in all probability, he had woken, felt unwell, got up and had his fatal stroke or heart attack. In crashing to the ground, he had shaken floor and walls – he was a heavy man – and the picture had been disturbed and fallen also.
Breaking out in a sweat again, but this time of relief, I went to the telephone on Theo’s desk and dialled the night porter.
It was a desperately sad few days and I missed Theo greatly. The college chapel was packed and over-flowing for his funeral, the oration one of the best I had ever heard and afterwards everyone spoke fondly of him. I was still shocked, my mind still full of our last hours together. From time to time, one thing came to my mind to trouble me. I had satisfied myself, I am pretty sure, that Theo’s death had had nothing to do with the story he had told me, with the Venetian picture or indeed with anything shocking or unexplained. Yet I could not forget the look of terror on his dead face, the horrified expression in his open eyes, the way his arm was outstretched. The picture had fallen, and although there was a perfectly sensible explanation for that, it worried me.
I left Cambridge with a heavy heart. I would never again sit in those comfortable rooms, talking over a fire and a whisky, hearing his sound views on so many subjects, his humorous asides and his sharp but never cruel comments on his fellows.
But I could not remain overly sad or troubled for long. I had work to get back to, but even more I had Anne. I had told Theo in the first few minutes after my arrival that I was engaged to be married to Anne Fernleigh – not a fellow scholar in medieval English but a barrister – beautiful, accomplished, fun, a few years younger than I was. The perfect wife. Theo had wished me well and asked that I would take her to meet him soon. I had said that I would. And now I could not. It cast a shadow. Of course, one wants two people one cares for to meet and to care for one another in turn.
I had told her of Theo’s death, of course – the reason that I had stayed on longer than planned, and now, as we sat in her flat after a good dinner, I told her in turn the story of the Venetian picture and of the old Countess. She listened intently, but at the end, smiled and said, ‘I’m sorry I won’t meet your old tutor for I have a feeling I would have liked him, but I can’t say I’m sorry not to be meeting the picture. It sounds horrible.’
‘It’s rather fine, actually.’
‘Not the art – I’m sure you may be right. The story. The whole business of ...’ she shuddered.
‘It’s a tale. A good one, but just a tale. It needn’t trouble you.’
‘It troubled him.’
‘Oh, not so very much. It was a story he wanted to tell over a whisky and a good fire on a cold night. Forget it. We ’ve more important things to discuss. I have something I want to ask you.’
Since my days with Theo and his sudden death, I had had one thought. I do not know why, but it seemed very important to me that instead of marrying the following summer, planning everything in a leisurely way and making a fuss of it, we should marry now, straight away.
‘I know it will mean we marry quietly, without all the razzmatazz and perhaps that will disappoint you. But I don’t want us to wait. Theo’s death made me realize that we should seize life – and he was a lonely man, you know. No family other than a Cambridge college. Oh, he was contented enough but he was lonely and a college full of strangers, however warmly disposed, is not a wife and children.’
But to my surprise, Anne said she had no problem at all in giving up plans for a lavish wedding and in being married quietly, with just our family and closest friends, as soon as it could be arranged.
‘It isn’t the money you spend and the fuss you make – a marriage is about other things that are far more serious and lasting. Think of that poor old Countess – think of the wretched other woman. We are very fortunate. We should never forget it.’
I never would. I never will. I could not have been happier and I had a good feeling that Theo would have agreed, and approved. I felt his blessing upon us and his benign presence hovering about us as we made our preparations.
The only hesitation I had was when Anne determined that, even though work meant we could not now take the long honeymoon in Kenya that we had planned, we should manage a long weekend away and asked if we might spend it in Venice.
‘I went once when I was fourteen,’ she said, ‘and I sensed something magical but I was too young to know what it was – I think one can be too young for Venice.’
‘Well perhaps we should save it for a longer visit in that case,’ I said, ‘and go down to the south of France.’
‘No, it won’t be warm enough there yet. Venice.
Please?’
I shook off any forebodings and made the booking. Superstitions and stories were not going to cast their long shadow over the first days of our marriage and I realized that in fact I was greatly looking forward to visiting the city again. Venice is beautiful. Venice is magical. Venice is like nowhere else, in the real world or the worlds of invention. I remembered the first time I visited it, as a young man taking a few months out to travel, and emerging from the railway station to that astonishing sight – streets which were water. The first ride on the vaporetto down the Grand Canal, the first glimpse of San Giorgio Maggiore rising out of the mist, the first sight of the pigeons rising like a ghostly cloud above the cathedral in St Mark’s Square, and of those turrets and spires touched with gold and gleaming in the sun. Walks through squares where all you hear are the sounds of many footsteps on stone, because there are no motor vehicles, hours spent at café tables on the quiet Giudecca, the cry of the fish-sellers in the early morning, the graceful arch of the Rialto Bridge, the faces of the locals, old and young men and women with those memorable, ancient Venetian features – the prominent nose, the hauteur of expression, the red hair.
The more I thought about the city in those days leading up to the wedding, the more my pulse quickened with the anticipation of seeing it again, and this time with Anne. Venice filled my dreams and was there when I woke. I found myself searching out books about her – the novels by Henry James and Edith Wharton and others which caught the moods so vividly. Once or twice, I thought about Theo’s picture and its strange story, but now I was merely intrigued, wondering where the tale had originated and how long ago. When we got back, I meant to look up Hawdon and
Anne and I were married two weeks later, on a day of brilliant, warm sunshine – surely a good omen for our happiness. We had a celebratory lunch with our families and a couple of friends – I wished Theo could have been there - and by late afternoon, we were en route for our honeymoon in Venice.
EIGHT
O GIVE MYSELF something to do while I wait here, I write what I am beginning to fear must be the end of this story, and with such grief and anguish, such bewilderment and fear, that I can barely hold the pen. I am writing to give myself something, something to do in these long and dreadful hours when all hope is lost and yet I still must hope, for once hope is extinguished, there is nothing else left.