On the right a cottage piano was set slantwise. In the
front were chairs for the principal performers. On the left, already
in their places, were the glee-singers chosen from the village choir.
Behind, on benches, the rest of the choir.
Over the whole scene, on the chalk white of the dado, the blond yellow
of varnished pinewood, the blazing scarlet of the hangings, the dark
glitter of the ivy and the holly; on the faces, ruddy and sallow,
polished with cleanliness, on the sleek hair, on the pale frocks of
the girls, the bright neckties of the men, the lamplight rioted and
exulted; it rippled and flowed; it darted; it lay suave and smooth as
still water; it flaunted; it veiled itself. Stately and tall and in a
measured order, the lancet windows shot up out of the gray walls, the
leaded framework of their lozenges gray on the black and solemn night
behind them.
A smell of dust, of pine wood, of pomade, of burning oil, of an iron
stove fiercely heated, a thin, bitter smell of ivy and holly; that
wonderful, that overpowering, inspiring and revolting smell, of
elements strangely fused, of flying vapors, of breathing, burning,
palpitating things.
Greatorex, conspicuous in his front seat on the platform, drew it
in with great heavings of his chest. He loved that smell. It fairly
intoxicated him every time. It soared singing through his nostrils
into his brain, like gin. There could be no more violent and
voluptuous contrast of sensations than to come straight from the cold,
biting air of Upthorne and to step into that perfect smell.
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