He turned and descended the stairs. When he had reached the floor below, he was thinking that he would meet her, that he would meet her soon and that Francon would not be able to prevent it now. He thought of it eagerly, laughing in relief at the picture of Francon's daughter as he had imagined her for years, revising his vision of his future; even though he felt dimly that it would be better if he never met her again.
10.
RALSTON HOLCOMBE had no visible neck, but his chin took care of that. His chin and jaws formed an unbroken arc, resting on his chest. His cheeks were pink, soft to the touch, with the irresilient softness of age, like the skin of a peach that has been scalded. His rich white hair rose over his forehead and fell to his shoulders in the sweep of a medieval mane. It left dandruff on the back of his collar.
He walked through the streets of New York, wearing a broad-brimmed hat, a dark business suit, a pale green satin shirt, a vest of white brocade, a huge black bow emerging from under his chin, and he carried a staff, not a cane, but a tall ebony staff surmounted by a bulb of solid gold. It was as if his huge body were resigned to the conventions of a prosaic civilization and to its drab garments, but the oval of his chest and stomach sallied forth, flying the colors of his inner soul.
These things were permitted to him, because he was a genius. He was also president of the Architects' Guild of America. Ralston Holcombe did not subscribe to the views of his colleagues in the organization. He was not a grubbing builder nor a businessman. He was, he stated firmly, a man of ideals.
He denounced the deplorable state of American architecture and the unprincipled eclecticism of its practitioners. In any period of history, he declared, architects built in the spirit of their own time, and did not pick designs from the past; we could be true to history only in heeding her law, which demanded that we plant the roots of our art firmly in the reality of our own life. He decried the stupidity of erecting buildings that were Greek, Gothic or Romanesque; let us, he begged, be modern and build in the style that belongs to our days. He had found that style. It was Renaissance.
He stated his reasons clearly. Inasmuch, he pointed out, as nothing of great historical importance had happened in the world since the Renaissance, we should consider ourselves still living in that period; and all the outward forms of our existence should remain faithful to the examples of the great masters of the sixteenth century.
He had no patience with the few who spoke of a modern architecture in terms quite different from his own; he ignored them; he stated only that men who wanted to break with all of the past were lazy ignoramuses, and that one could not put originality above Beauty. His voice trembled reverently on that last word. He accepted nothing but stupendous commissions. He specialized in the eternal and the monumental. He built a great many memorials and capitols. He designed for International Expositions.
He built like a composer improvising under the spur of a mystic guidance. He had sudden inspirations. He would add an enormous dome to the flat roof of a finished structure, or encrust a long vault with gold-leaf mosaic, or rip off a facade of limestone to replace it with marble. His clients turned pale, stuttered — and paid. His imperial personality carried him to victory in any encounter with a client's thrift; behind him stood the stern, unspoken, overwhelming assertion that he was an Artist. His prestige was enormous.
He came from a family listed in the Social Register. In his middle years he had married a young lady whose family had not made the Social Register, but made piles of money instead, in a chewing-gum empire left to an only daughter.
Ralston Holcombe was now sixty-five, to which he added a few years, for the sake of his friends' compliments on his wonderful physique; Mrs. Ralston Holcombe was forty-two, from which she deducted considerably.
Mrs. Ralston Holcombe maintained a salon that met informally every Sunday afternoon. "Everybody who is anybody in architecture drops in on us," she told her friends. "They'd better," she added.
On a Sunday afternoon in March, Keating drove to the Holcombe mansion — a reproduction of a Florentine palazzo — dutifully, but a little reluctantly. He had been a frequent guest at these celebrated gatherings and he was beginning to be bored, for he knew everybody he could expect to find there. He felt, however, that he had to attend this time, because the occasion was to be in honor of the completion of one more capitol by Ralston Holcombe in some state or another.
A substantial crowd was lost in the marble ballroom of the Holcombes, scattered in forlorn islets through an expanse intended for court receptions. The guests stood about, self-consciously informal, working at being brilliant. Steps rang against the marble with the echoing sound of a crypt. The flames of tall candles clashed desolately with the gray of the light from the street; the light made the candles seem dimmer, the candles gave to the day outside a premonitory tinge of dusk. A scale model of the new state capitol stood displayed on a pedestal in the middle of the room, ablaze with tiny electric bulbs.
Mrs. Ralston Holcombe presided over the tea table. Each guest accepted a fragile cup of transparent porcelain, took two delicate sips and vanished in the direction of the bar. Two stately butlers went about collecting the abandoned cups.
Mrs. Ralston Holcombe, as an enthusiastic girl friend had described her, was "petite, but intellectual." Her diminutive stature was her secret sorrow, but she had learned to find compensations. She could talk, and did, of wearing dresses size ten and of shopping in the junior departments. She wore high-school garments and short socks in summer, displaying spindly legs with hard blue veins. She adored celebrities. That was her mission in life. She hunted them grimly; she faced them with wide-eyed admiration and spoke of her own insignificance, of her humility before achievement; she shrugged, tight-lipped and rancorous, whenever one of them did not seem to take sufficient account of her own views on life after death, the theory of relativity, Aztec architecture, birth control and the movies. She had a great many poor friends and advertised the fact. If a friend happened to improve his financial position, she dropped him, feeling that he had committed an act of treason. She hated the wealthy in all sincerity: they shared her only badge of distinction. She considered architecture her private domain. She had been christened Constance and found it awfully clever to be known as "Kiki," a nickname she had forced on her friends when she was well past thirty.
Keating had never felt comfortable in Mrs. Holcombe's presence, because she smiled at him too insistently and commented on his remarks by winking and saying: "Why, Peter, how naughty of you!" when no such intention had been in his mind at all. He bowed over her hand, however, this afternoon as usual, and she smiled from behind the silver teapot. She wore a regal gown of emerald velvet, and a magenta ribbon in her bobbed hair with a cute little bow in front. Her skin was tanned and dry, with enlarged pores showing on her nostrils. She handed a cup to Keating, a square-cut emerald glittering on her finger in the candlelight.
Keating expressed his admiration for the capitol and escaped to examine the model. He stood before it for a correct number of minutes, scalding his lips with the hot liquid that smelled of cloves. Holcombe, who never looked in the direction of the model and never missed a guest stopping before it, slapped Keating's shoulder and said something appropriate about young fellows learning the beauty of the style of the Renaissance. Then Keating wandered off, shook a few hands without enthusiasm, and glanced at his wrist watch, calculating the time when it would be permissible to leave. Then he stopped.
Beyond a broad arch, in a small library, with three young men beside her, he saw Dominique Francon.
She stood leaning against a column, a cocktail glass in her hand. She wore a suit of black velvet; the heavy cloth, which transmitted no light rays, held her anchored to reality by stopping the light that flowed too freely through the flesh of her hands, her neck, her face. A white spark of fire flashed like a cold metallic cross in the glass she held, as if it were a lens gathering the diffused radiance of her skin.