THE AMOURETTA LANDSCAPE
AND OTHER STORIES

The
Amouretta Landscape
And Other Stories

By
Adeline Adams

Boston and New York
Houghton Mifflin Company
The Riverside Press Cambridge
1922

COPYRIGHT, 1922, BY ADELINE ADAMS

ALL RIGHTS RESERVED

The Riverside Press
CAMBRIDGE · MASSACHUSETTS
PRINTED IN THE U.S.A.

CONTENTS

THE AMOURETTA LANDSCAPE

I

If you search from Greenwich Village to Lawrence Park, and then from Turtle Bay to Chelsea, you will not find in all New York a painter less spoiled by fame than Maurice Price. It was in his nature to know from the very first that the luckier you are, the kinder you can be. I do not regard it as a limitation that in what he does and in what he wears he scarcely satisfies the romantic ideal about artists and their ways. There is nothing wild in his attire, and he does not live more dangerously than other citizens must. Still, there is something about his type of good looks that sets him apart and gives him away. Those who see him for the first time, in profile, whether at the Follies or at a funeral of an Academician, sometimes think that if they knew the man, they would esteem him more than they would love him. That is because they have not yet met him in front view, and discovered the eager friendliness in his gray eyes, the sensitive, listening expression of his whole face; the look that says, “Tell me your joke in life, and I’ll tell mine.” His merry young wife had once declared that there were only two things that saved his head from an intolerable Greek goddishness. Maurice’s curiosity was roused, but the girl had kept him guessing until the end of the week, when she explained that one of the things was his right ear, the other, his left; both of them stuck out more than the classic law allowed; just as well, too; since, for her part, she had preferred to marry a man, not an archangel or a Greek coin. The man smiled, and kept on painting.

A time came when Maurice Price, suddenly finding himself in a new environment, remembered that in ten years he had not once painted a landscape from nature. As he stood in the wide doorway of his friend’s country studio, and gazed with delight at the springtime beauty of the New Hampshire hills flung down at his feet, the fact that during a whole decade his painting had been done within doors and under glass struck him as an absurdity, even a reproach. Ah, well, those who go about calling ten years a whole decade must expect reproach, he reasoned. They bring it on themselves.

Besides, the situation was explicable enough. Ever since he and his wife had said good-bye to their cottage near Fontainebleau, exchanging the joys of study in France for the responsibilities of family life in their own land, his work had been chiefly portraits, with an occasional welcome mural decoration to break the monotony of rosy lips, shimmering pearls, crisp satins; of academic robes, frock coats, tennis trousers, and whatever else a modern portrait-painter must cope valiantly with, on canvas. Not that Maurice was weary of his good fortune in having portraits to do. He often said, with that frank yet pensive smile of his, that every sitter on earth has some personal quality which, if seen aright, can alleviate if not actually elevate our art. Hence, after every excursion into the field of mural decoration, he returned with new zest to his girls with pearls, his dowagers, his bankers; while after every surfeit of our common humanity as shown up in a north light, he seized with ardor the chance to depict on the walls of some library or court-house those various fables of antiquity which seem to shed the most pleasing light on the fables of our modern civilization. But never a landscape!

Naturally, his decorations and even his portraits often had landscape backgrounds. Fancy our Agriculture without her wheatfields, or our Mining Industry without her tumbled hills, or a Bridal at Glen Cove without blue skies, lovely leafage, a beauty-haunted marble vase, a teasing vista where Pan might lurk unseen! But very properly, such backgrounds as these were merely arrangements, or, as one might say, apt quotations from nature; they did not pretend to report passionate personal interviews with her. Maurice Price loved to paint such backgrounds. Whether in a tranquil or a stormy mood, he always kept the hope of distilling beauty for the ages. And he knew that the backgrounds had their part in that enterprise of his.

In his golden twenties, he had been a singularly diligent lover and student of landscape. Many an elder painter might have envied him his portfolios stuffed with first-hand information and first-hand illusion concerning rocks and seas, skies and fields, trees and hills, and all the rainbow hues and lights and darks that visited them in their repose, their shifting moods, their crises. Maurice in the late thirties often stood in awe of that far-off Maurice of the early twenties, who seemed to know so much even then of the painter’s magic book of all outdoors. To-day, he wondered whether he could beat his younger self in the game that is played on canvas with brushes, under the sky, with everything more or less astir, and nothing at all ever quite the same as it was a moment before, least of all in its colors and values.

After that devastating influenza of March, his seldom-needed doctor had ordered a few weeks’ complete rest. “Complete piffle,” Price had growled. Nevertheless, when his friend James Anthony, a painter given to unexpected withdrawals and fresh beginnings in art, had offered him an opportunity for an entire change of scene, he had accepted. Anthony, always as keen as any Vibert or Abendroth in his pursuit of the secrets of the old masters, had suddenly decided to go abroad to study certain gums and resins that might eventually preserve our American painting from destruction. Anthony was like that. He was successful enough and wealthy enough to be as whimsically conscientious as he pleased about pigments and surfaces. He could afford to keep a bee in his hat, and call it altruism. And now, the bee having stung him afresh, that wonderful hill studio of his was at Maurice’s disposal.

“You will be doing me a favor,” wrote Jimmy Anthony, “if you’ll take it, even for this one summer. There are two sculptors hounding me to rent it to them, a man and a woman. The man I can beat off, but the woman will work her will and get the place and wreck it for me, if you don’t come to the rescue. I can stand a painter’s rubbish, but sculptors! No, no, not for Jimmy. And please use up whatever you find in the line of materials. There’s nothing there of any further interest to me. You might like all that garance rose doré, and that pomegranate cadmium I used to swear by. And those mahogany panels that I had especially made. Do use them. Good on both sides, and bully for landscapes.”

When Price, after a look of delight at the spring magic framed by the doorway, had turned to examine his new quarters, he was not surprised that Anthony had shunned sculptors as tenants. He could not imagine the litter of clay and plaster, wet rags and greasy plastiline, defiling that spacious immaculate hall and its dependencies, all contrived by his friend out of a hay-barn and stable used by the roadhouse gentry of a hundred years ago. Boxstalls made excellent dressing-rooms for models. Harness-closets gave ample space for easels and canvases, frames and colors. The north light was vast, but could be curtained at any point. The great door of the former hayloft was a proscenium arch through which one could look east, south, and west, upon various enchanted worlds. Again and again, that southern picture called aloud to Price to be painted. He found himself saying, “I will!” with the exultation of a man about to be married for the first time.

His own materials had not yet arrived; his wife, a doctor-abiding person, had seen to that; she too had picked up that annoying slogan, a complete rest! Perhaps Anthony’s closets would give first aid. Yes, there were plenty of brushes and colors, all in good condition; easels great and small; and such a panoply of varnishes and mediums as Price himself had never dreamed of needing. No wonder Anthony’s painting ran rather hectic, at times; he had too much stuff to paint with, yes, too much by far. His canvases were overdressed, by Jove! Pluming himself a bit on his own very simple palette, which he naturally regarded as an evidence of a higher culture than Anthony’s (just as the Doric lay in literature is finer than the Corinthian ode, he told himself), Maurice picked out from a bewildering variety the ten colors of his heart’s desire, including the garance rose. He looked indulgently, but not self-indulgently, on the pomegranate cadmium, as on a pretty lady he had no wish to flirt with.

Still searching, he laughed outright to find on an upper shelf the selfsame palette that Anthony had so often bragged about, at the Club, and (to judge from its pristine appearance) had so seldom used, in the studio. It was a rather large palette, acquired at no small cost by Anthony, during his period of trying out dear Shorty Lasar’s theory, namely: that when seen on the dull brownish wood of the ordinary palette, any color, no matter how muddy, looks bright and pure, luring the painter to his ruin; whereas, when shown on a brilliant, untarnished surface, say that of pearl or of ivory, the same color is revealed at once in all its foulness. “Nothing like mother-of-pearl,” Jimmy would say, “for exposing the true soul of a gob of paint!” And Anthony’s Club-famous palette, which Maurice now held in his hand, had been inlaid with pearl from stem to stern, a splendor which had added somewhat to its weight. Price balanced it between thumb and fingers, a little patronizingly, perhaps, as may well happen when a man takes up another’s palette, especially a palette more famed in theory than in practice. Not that he wanted to quarrel with the tools he was lucky enough to find; anything in reason would do.

As for the mahogany panels, he would gratefully use one of those, at a pinch. It had not the kind of surface he preferred, his way being to use a rather absorbent canvas, preparing the surface to suit the needs of the work in hand. But here again, Maurice was not hide-bound. Surface wasn’t the only thing; it would be a poor painter who would let a marvel-landscape like that go unpainted, merely because he hadn’t a fine new roll of canvas to slash into. He was glad to find, in that inexhaustible closet, half a dozen of those panels; baywood or cherry, perhaps, though his friend always called them mahogany. Running eager fingers over them, he found that the one he liked best for size and solidity, for shape and texture, had already been used, on one side; but that mattered not at all. He knew Anthony’s three-layered panels; both sides were good.

On bringing the panel of his choice out into the full light, he was first dazzled and then puzzled by the painting on it. Was this really Anthony’s work? Theory-ridden as he was, Anthony had certainly painted queer stuff, at times. But Maurice could not insult his friend’s hospitality by taking this weird performance in earnest. Its style out-Jimmied Jimmy. Yet it seemed brilliantly familiar; it had Anthony mannerisms.

Then memory suddenly turned her flashlight on the thing, and told him why it seemed familiar. Three years before, on the eve of sailing for the Front, he had visited Anthony, and the two had inspired the boys and girls of the artist colony to organize a “Faker Show” for the benefit of the French wounded; children, models, and even the artists themselves had vied with each other in producing caricatured art. The most wildly acclaimed piece had been this very panel, painted in a joyous hour by Anthony’s studio-boy, Pietro, from Anthony’s model, Amouretta McGowan; to save time, he had used one of his master’s discarded portrait-studies, and he had kept the characteristic Anthony composition throughout.

It was meant for a portrait, one saw,—the portrait of a woman, a hussy, if you like, with dusky flesh-tints after Gauguin, and with an impudent gown patterned and colored like that in Matisse’s once celebrated “Madras Rouge.” But the pearls with which the minx was crowned and girdled, draped and festooned,—ah, the pearls were surely a fling at Maurice Price himself, “the Price-of-Great-Pearls,” as the League students called him, just as in other days they had called Kenyon Cox, “Bunion Socks,” George de Forest Brush, “Young-Man-Afraid-of-his-Brushes,” and Augustus Saint-Gaudens, “Gaudy Saint August”; youthful pleasantries which harmed no one, least of all the artists themselves.

Once again Maurice laughed aloud as he recalled how earnestly he had explained to his students his method in painting pearls, telling them of the many slow and careful studies he had made of pearls before he had really mastered the mystery of pearls, and much else, after the manner of enthusiastic and self-giving teachers the world over. In general, the youngsters had listened and profited; otherwise, they would have been donkeys. Also, they had jeered and jested; otherwise, Maurice thought, they would have been prigs. And that nickname, “the Price-of-Great-Pearls,” had clung to him, in a heart-warming way. He felt that if his students had given him no title at all, he would have suffered some vague loneliness of spirit when among them.

Astonishing how Pietro, in one piece of brilliant painting, had succeeded in poking fun at two Frenchmen and two Americans! Certainly, Anthony’s well-studied devil-may-care composition showed doubly riotous after that boy had wreaked his genius on it; and the pearls, as Maurice saw with a twinge of gratification, were exquisitely painted, if you considered them as giant opalescent lamps filched from some moonlit fairyland, and not as gems discreetly adorning a woman. And then the Gauguin coloring, the Matisse arabesques! As a final flourish, like the “I thank you” after a four-minute speech, Pietro had signed the work “the Price-of-Great-Pearls.” Maurice found, on looking for that signature, that some later jester had obliterated from it all but the one word, “Price.” Price, indeed!

Maurice’s smile faded away into mere pensiveness as he recalled both Pietro and Amouretta. The boy, in all his vivid brightness of youth, had died suddenly from the epidemic in which Maurice himself had suffered, while Amouretta—

Her real name was not Amouretta. No one’s is. She was just Anna McGowan, golden and rosy, with hair and complexion that would have been beyond belief if she had not insisted on showing every artist (and more especially his wife) just how far her hair fell below her knees and just how it grew around her temples; because, as she said, it was where the hair started and where it left off that all that nasty peroxide business gave those others away, poor things! Also, she would press her finger on her cheek and lips, so that their roses would vanish and return, as if an electric button had been touched. She loved to have the wives see that, too. There was nothing false about Amouretta. From her golden topknot to her pink toes, she was as good a girl, all in all, as ever hopped high-heeled from a painter’s studio to a picture-studio (two quite different arenas), in the effort to make both ends meet, and then cross over. “It’s the cross-over that counts,” Amouretta used to say; “there’s where the joy in life appears.” The name Amouretta was a business concession to the picture industry and to the small vaudeville shows in which she worked when posing was slack.

A singularly vivid personality, that child; her adventures, like her hair and her complexion, sometimes seemed fabulous, at first glance, but always gained new lustre after investigation. For instance, there was on her shoulder a tiny red mark, which she said was due to a bite she had received at the Kilkenny Ball, from a mad and anonymous devotee of beauty. Could any one altogether believe that? Nevertheless, young Cavendish (whom she had never known or even seen), on coming to himself the day after, had confessed himself publicly, in an agony of shame. He had taken a bite of a peach in passing; he didn’t know why, Lord help him; and from that hour he was nevermore the strayed reveller we once had known, but settled down into blameless and uninteresting eclipse. Then again, there came a morning when Amouretta, posing in a green satin bodice as an understudy for an overworked “bud,” whose portrait Maurice Price was painting, had yielded to that self-revealing mood to which all models are at times given; she confided to our painter that she was engaged to be married to a middle-aged admirer, a man of great wealth, whose name she would not tell until the engagement was publicly announced. Could not Mr. Price guess? She meant to give up both stage and model-stand, of course; why, she had given up cigarettes already for that man, because he had said that the men of his family didn’t like them for ladies. “And he was so dear, when he said it.”

Amouretta’s brilliant blush came and went so often during her story, and finally stayed so long, that it played the very deuce with Maurice’s entire morning; you know how difficult it is to paint emerald satin when the wearer is blushing; the green and the red come to blows. And Maurice, who had two daughters of his own, howbeit small, was really worried, until one afternoon at the Century, Mr. William Saltonstall, long of limb, lineage, and purse,—a man of undoubted probity, and a collector, too!—had touched him on the shoulder, and poured out the whole story of his love for Amouretta. The wedding was to be at Saint Barnaby’s, in June. There could be no doubt as to Mr. Saltonstall’s self-surrender; love at first sight it was, that day in the studio when Maurice had introduced a patron of beauty to beauty herself. Naturally the painter was delighted with this idyl—its delicate fragrance, its perfect flowering; all unconsciously, he himself had sown the seed, his wife and Amouretta smiling wisely thereafter at his blindness. He had always liked William Saltonstall, and none the less because that gentleman was not one whom every one called Bill.

After the engagement, Amouretta continued to work, because, valiant little soul, she meant to earn her own trousseau. No man not a relative should be able to say he had done that for her; and I’m thinking it would be a long day before either her father or her brother, in their good-natured shiftlessness, could provide the outfit she had in mind! But there was no June wedding at Saint Barnaby’s, after all; for Amouretta caught a fatal chill one raw night at the Revelries, while posing as Innocence, insufficiently clad in white paint and a scrap of georgette, in one of those pure-white sculpture groups which occasionally reappear in refined vaudeville.

And there was nothing more that could ever happen now to Pietro and Amouretta, thought Maurice. For one as for the other, their story of bright youth was ended. For Pietro, no daring assault upon the Roman Prize; for Amouretta, no adventure of any color at all, not even that climax of white satin train and flower-girls at Saint Barnaby’s. Maurice sighed as he took up a large flat brush and charged it with gray paint to obliterate the caricature. A few vigorous strokes would suffice. But he could not bring himself to do what he intended. He started back as if he had hurt himself. Or had young hands pushed him back? Surely there was something in that quaint, brilliant, impudent creature smiling on him—some hint or vestige of that which was once Amouretta—Amouretta who threw a kiss to the world, and was gone. And what was he, successful Maurice Price, that he should go about with brutal paint to hush up forever young Pietro’s jest? No, no, he could not do that. It was not fair, not sportsmanlike. Live and let live!

He examined all the other panels, but their shapes and sizes were not right. “Oh, well, I don’t give a damn,” lied Maurice to himself. He lit a cigarette, but the landscape came between him and his smoke. He picked up a frayed copy of “La Reine Margot,” but the landscape shut out Saint Bartholomew. He sat a moment in Anthony’s Venetian chair, and covered his eyes with his hands, but between his eyes and his hands he saw only the miracle landscape. So he rose resolutely, took up the panel of his choice, the Amouretta panel, and began to paint on its untouched side. A beautifully primed surface lent itself at once to the artist’s will.

II

“In the midst of death we are in life,” he murmured. Below, in the orchard, his wife was carolling old French songs with the children. “On y danse, on y danse!” Even Maury junior, a boy to the backbone, and little given to self-expression in song, especially foreign-language song, boomed out a mighty “Tout en ronde!” Half an hour before, Maurice senior had stood hand-in-hand with his wife, looking up into the flowery dome of a magnificent pear tree, all aglow with golden-white blossoms, all perfumed with their incense, and musical with legions of bees. He knew just where to find those magic boughs in his landscape; he recognized their golden-veiled whiteness, their garance rose. Left and right the spendthrift river was pouring out its silver in a royal progress, mile after mile in the May sunlight. Ascutney, the great mountain that all the people thereabouts knew as their tutelary deity, had chosen from his myriad mantles the one he might wear for an hour or so, of an entrancing blue to mock the heavens themselves. Smilingly yet warningly he confronted Maurice, singling him out from other persons, to tell him in a secret, consoling way, of the generations of men, those who had gone and those who were yet to come; yes, Ascutney spoke very seriously with Maurice, reminding him of everything, whatever it might be, that he, Maurice Price, in his great good fortune in art and life, owed to those generations, and must joyfully repay, by painting as best he might that lyric scene.

“Generation after generation,” thought Maurice, “but no longer Pietro or little Amouretta.” Quivering with emotion as he was, he saw that the passion and skill of that far-away Maurice of the twenties had not vanished. Now, as then, he had in large measure the artist’s gift of multiplying his personality when he was at work; his consciousness as an artist rose many-mansioned toward the skies. With heart and mind swelling from the scene he conned and created, he was at once the Maurice who did not need a pearl palette to capture the glory of that violet-edged puff of golden cloud over the meadow, who could hear the bees in the orchard, who could see a jewelled indigo bird flaming out from the locust bush; a Maurice whose whole being overflowed with returning health, with rapture in painting, with pride in Maury junior, with love for the wife of his delight, with affection for good old Jimmy Anthony, and yet a Maurice with sharp remembrance of those vanished children of joy, Pietro and Amouretta.

As he painted, he smiled often, because many persons, both living and dead, came and ranged themselves beside him, and it was pleasant to be talking with them, on that flowery hillside. Oh, Lionardo, of course, and Père Corot; Monet and Pissarro; his own namesake, Maurice Denis, dear Thayer of Monadnock, and John Sargent, since he too could do landscapes and portraits and murals! And Whistler, certainly, though at times he talked too much, interrupting quite scornfully while Maurice was explaining to Lionardo how our American goldfinch beats his wings as he sings; or else breaking in with a prickly jest when Maurice was giving M. Monet his reasons why (with due respect, Monsieur!) he meant to paint all day on that one landscape, instead of beginning another as soon as the light should change.

Some of his younger friends came also. One would have said that half the American Camouflage trooped in; little Robert, so strangely saved that black night at Beaumetz-les-Cambrai; young Harry, born at the foot of Ascutney—smiling Harry the sculptor, beside whom he himself had stood unharmed, in the field by Reims, when a shell came, striking Harry to nothingness; and Anthony’s nephew too, that portrait-painter whom the papers had called brilliant-futured—debonair Charlie Anthony whom he himself, merely Captain Price, under orders, had unknowingly despatched to his doom. Maurice was used to that boy’s presence by now; the harsh realities of dreams had often brought them together. Such things could not be, and men remain dumb. All this and much more must be told in the miracle landscape he was creating; it would be dishonest, otherwise. In spirit, smiling Harry and his mates belonged to that scene. Even M. Monet admitted that without doubt there is also this point of view. Not one of those companions failed to understand why our painter had not blotted out Pietro’s Amouretta. Not one of them was surprised when all of a sudden he looked up from his own painting, to make sure that Pietro’s was right side up, and uninjured by contact with the easel; Maurice laughing to himself the while, and saying aloud, “I should worry!”

The critics declared later that this canvas was Price’s masterpiece. They wrote of the monumental purple dignity of his mountain, the self-contained inwardness of his middle distance, the happy audacity of his flowery foreground. They might have found out, to be sure, just by looking, that the painting was on wood, not canvas! But they could not know how much of Reims and Beaumetz-les-Cambrai were playing hide-and-seek among the shadows of Maurice’s mind when he set down Ascutney in the mantle of the hour. They would have been startled out of a day’s omniscience had they been aware of everything that Pietro and Amouretta had contributed of their brave young substance to that smiling foreground. So excuse them, please, for whatever was wrong in their writings; they could not know, exactly, about Maurice; and after all, they made a very good guess.

III

That summer, Maurice painted many other landscapes. There were falls, brooks, and rocks in that glamorous country, and these he showed in their beauty as he saw it. There was also an enchanted road under enchanted pines, where he once beheld Paolo and Francesca walking at twilight; this too became matter of record, to be taken up later and played with for heart’s delight. Rumors of his latest work reached the art galleries. New Yorkers know those galleries, dotting the Avenue from the Library to the Plaza, and even blossoming out into side streets of lower rental. And the merry war between artist and dealer, as eternal and various (and perhaps as little reasonable) as the war between the sexes, would be taken up with renewed vigor in the autumn. Price had received letters from the Abingdon, the Buckminster, the Clarendon; from As You Like It, even, as well as from Farintosh and from MacDuff. The letters were similar in content; their writers had heard of his landscapes—a new line for him, was it not? The buying public would be interested, of course, and would he care to exhibit in their well-appointed galleries? They would be glad to hear from him at his early convenience. Price smiled, and answered, declining.

In fact, he was interested, not financially but sympathetically, in a gallery from which he had received no letters;—an out-of-the-way little gallery, a modest ground-floor-and-mezzanine affair slowly becoming better known and liked as the Court of New Departures. He was interested because this fantastically named refuge for originality in art was a business venture (a venture that must be made to succeed!) undertaken by Hal Wrayne, a madcap young cousin. Hal Wrayne’s father had always kept this only son of his well-supplied with means for cutting up harmless capers, at school and in college; and Hal himself, both by nature and by training the perfect comedian in life, had hardly stopped to ask where he was going, all so joyous, until, on his father’s sudden death, he found himself almost penniless, with a wife and baby daughter to support, and with a mother and sister who needed his help.

But Hal did not wholly forswear the Comic Spirit even when he surveyed the clouds on his horizon. The War had cut short his last year at law school, but he knew enough to know that in his young hands the law would be but a sorry staff of life for five persons, four of them in petticoats. He had studied art, too, having been very fond of Cousin Maurice, who had let him play about in the studio, one summer; indeed, being clever and versatile, Hal had painted, under Maurice’s criticism, a series of gay-garlanded borders to temper the austerity of certain court-house decorations, and so had once really earned money as a painter’s assistant. But a month among murals does not constitute a career, Hal Wrayne saw. Art was even less likely than law to provide, all at once, for his “little quartette of skirts,” as he cheerily called his dependents, who varied in age from five months to fifty-five years. What to do? It suddenly occurred to Hal that he might strike a happy medium by running an art gallery.

“Art galleries nowadays,” said young Hal, “have got to have a punch to ’em. At least, the new ones have. You know—element of surprise, variety the spice of life, the dernier cri sort of thing. What little I know about law will show me how far I can go, without being arrested for speeding; and what little I know about art, if I spread it out thin enough, ought to carry me along quite a ways.”

Maurice Price shook his head. Frankly, he saw nothing in it at all, for Hal and his quartette. Nevertheless, Hal looked about manfully, head up, early and late. He found an old stable with a loft, in the East Fifties, and vigorously remodelled the building into a court with tiny upstairs galleries, decorating court, staircase, and rooms in a somewhat slapdash style, with results that were reminiscent both of his own room at college and his cousin’s studio. As a nucleus for his first show, he had several enigmatic Lithuanian sketches, painted with that fierce peasant coloring which attracts jaded civilizations. There were also some rather unusual unpublished posters by a needy French friend of Hal’s; and by great good luck, he had obtained a whole sequence of Harriet Higsbee’s famous landscape compositions in cut-up linoleum. (You remember Harriet in Paris? How she never washed a paint-brush, or anything?) Between the posters, the Lithuanian things and the linoleum, the Court of New Departures was modestly beginning to keep its promises, even before Hal, in a burst of inspiration, had arranged upon the staircase his own private collection of humorous sculptures in the baser metals, among them a certain ironic green elephant warranted to make the saddest mortal smile again.

“You see,” he explained to the bewildered Maurice, “I want the tone of this dive to be at once romantic, realistic, humorous, and ironic. I guess I’ve captured it all, now.” Maurice sighed as he helped his cousin to hang a pair of fine tapestries, begged from Hal’s trusting mother. “To draw the dowagers,” Hal said.

Odd as it seemed to the elder man, the dowagers were really drawn. After all, you never can tell; dowagers are not exempt. Through a judicious one-by-one exposition (a Japanese idea, borrowed by Hal from The Book of Tea), many valuable objects salvaged from the wreck of the Wrayne fortunes were disposed of at excellent prices; and before the year was out, the boy had succeeded in selling to his college friends, and their friends, a goodly number of little pictures, studies and sketches, mostly in the new manner, whatever that happened to be. His “quartette of skirts,” far from being an encumbrance, were, so he stoutly declared, “a high-class asset.” His sister Dodo was a wonder in throwing a bit of bargain-counter drapery over a mission stool, so as to make you think of a Doge’s palace. She and his wife organized those charming teas, which, when presided over by his lady-mother, with her authentic air of belle Marquise, made everything look thoroughly salable and artistic, from those queer Lithuanian sketches to Hal’s own models for stage sets. Prosperity was just around the corner; and the only singular circumstance was, Hal began to have ideals. “No junk, girlie,” he would warn the enterprising Dodo. “No Greenwich Village in mine! I mean to run a gallery fit for a refined limousine trade, and I don’t want my clients to think they’re slumming, just because I keep ’em in touch with the grand new movements in art.”

Maurice Price looked on, fascinated by the spectacle of his young relative’s start in a career that was neither law nor art, yet had been suggested to Hal by his slender knowledge of both.

“Why don’t you send me up some of your things?” the boy boldly asked Maurice. “They would sell like hot cakes, mixed in with my regular stuff.”

And Maurice, full of good-will, had replied, “Perhaps I may, if I can look up some inexpensive little bits your customers might like.”

“Not on your tintype!” retorted Hal. “Can’t you see, old Price-of-Great-Pearls, my quartette and I have to live on my thirty per cent? I don’t want your inexpensive little bits! I want your masterpieces, the costlier the better. Bet I can sell ’em for you, too, as easy as Farintosh, or MacDuff. Your being an Academician doesn’t stand in my way!”

Maurice flushed, not so much on account of being an Academician, as because he suddenly saw himself self-convicted of a lack of imagination in regard to his cousin.

“Say, Maury, think it over! What do you take me for, anyway? Do you suppose I want to carry on a queer joint like this, always? It isn’t merely my commission I’m thinking of when I’m asking you for your best stuff! My littlest skirt will be growing up, and there’ll be others, perhaps. Pants, too,—who knows? I wouldn’t like to have him, and them, see me spend my days in a frisky, risky side-show like this!” His gesture included the emerald-green elephant, as yet unbought, and beginning to flake off a little at the tip of the trunk. “I like this art business—I like it fine. But I want to carry it on in a way a fellow like you would approve of, and respect, and be enthusiastic about!”

“Do you know,” answered Maurice, reflectively, “I begin to think that’s just what you are doing, as fast as you can!” He spilled some cigar-ash on the rug, and ground it in carefully with his foot, always a sign of emotion in Price-of-Great-Pearls. And the two had parted, well pleased with each other and with themselves.

Hence it was that Maurice, in reviewing the work of that good summer, had decided, Academician though he was, to send to the Court of New Departures his best-loved landscape. Farintosh was to have the rest. They were all of them good stuff, too; he knew that. But not one of them, either for his artist friends or for himself, surpassed in charm and amplitude that southern picture of Ascutney, painted with Anthony’s materials, too. At first blush, it seemed a high-keyed, ecstatic picture, but a second glance revealed a multitude of lovely, lively grays; dew-spangled or tear-touched, who could say? Maurice knew that he had never before put so much of himself into any picture. It was dyed-in-the-wool Price, by Jove it was! He told himself so, in a passion of certainty. He knew, he knew, that beyond anything he had ever before painted, it showed him at his best, intellectually and emotionally; it revealed the man, and whatever mastery he had over his life and times; and incidentally, his technique, too, a thing not to be despised in the midst of larger considerations. Yes, the pearl among his pictures! He smiled, remembering his nickname.

And the jewel had a suitable setting. To his joy, he had discovered among the hills an old Frenchman, cultivating his garden—a frame-maker who had long been with Chartier. Think of it, a man who not only could carve to perfection the delicately reserved mouldings Maurice Price desired, but who also really knew how to gild, in the reliable old manner! Such finds as these make life worth living. The Frenchman’s frame was a masterpiece, Maurice declared. He sent it, in advance, to the Court of New Departures; he felt that it might have an elevating influence there. But he kept the landscape by him, for pure joy in its presence, until the last moment. Sometimes, when he put it away at night, out of the reach of thieves and other insects, he looked at Amouretta, on the back of the panel, and wondered. But he had no wish to blot out that strange likeness. It was part and parcel—there was something about it, too—He left it there, just as Pietro of the merry heart had left it, until a later jester had wreaked himself upon the signature, sparing only the name Price.

In the Court of New Departures, Hal Wrayne was expecting that picture. Maurice had laconically written of his fresh adventures in painting, that summer; he had added that what he was about to send was “the gem of the whole outfit.” All of his new pictures were new departures, according to Maurice. However, he honestly believed that this one, the gem! had in its inspiration something at once deeper and fresher than the others could boast. No need to mention that fact to Farintosh, of course; for he had decided to let Farintosh exhibit all but the gem. Thus Maurice, half in jest and all in earnest. Hal was jubilant. He did not know whether the gem was a portrait, or a fragment of a decoration. What did that matter? A gem is a gem. When the frame arrived, he recognized its beauty, and danced for joy. He commissioned Dodo to keep her weather eye out for a harmonizing remnant.

At that time, he had in his employ a long lean German, straight as a die, body and soul; a man whose services were really worth more than Hal could afford to pay, but who nevertheless had begged to remain, because he was happy in the Court of New Departures, and had been unhappy elsewhere. He called himself the famulus, and had made himself well liked as such. Hal decided that when the pearl among pictures should at last arrive, the famulus, who was perfect in such duties, should unpack it, set it into its frame, and hang it in the place of honor, so that he himself might view it unexpectedly, from across the room. He carefully explained to the famulus that this picture, coming down from the mountains, was a new departure by a very great artist, and that he himself wanted to see it just as a buyer might see it; with a fresh eye, don’t you know? Just for the big impression, so to speak, and to avoid letting his mind get confused by a lot of little impressions, as would surely happen if he took it out of the box himself, and fussed around with the hanging. There was something of the boy and the comedian still left in Hal, you observe. The famulus, who had seen and heard strange things in art and from men, both here and abroad, nodded sagely. He understood.

Even so, after he had unpacked the panel, he scarcely knew which of the two sides it were best to show, in that frame whose workmanship he had already lovingly examined. In his honest conceit, he did not wish to seek counsel from his employer. To him, the landscape looked more beautiful than the lady! On the other hand, Mr. Wrayne had spoken of the great artist’s work as a new departure; surely the lady, rather than the landscape, fitted that specification! Ach, it was a turvy-tipsy world, these days. No one knew what was beauty, any more. Turning the lady’s bright image this way and that, he noted a signature, Price. Yes, that settled it; Price was the name Mr. Wrayne had spoken, many times already. With a sigh for the passing of the old régime in art as in life, the German famulus fitted the Italian boy’s “fake” study of the Irish girl within the Frenchman’s faultless frame, and set the picture in the place of honor, for rich Americans to see.

Not even to his “quartette of skirts” has Hal Wrayne ever disclosed his real feelings on seating himself in the buyer’s seat, to take in suddenly, “in one big impression,” the effect of Maurice’s new departure. He himself did not know what his real feelings were. He had once had some little taste, he told himself, some little training; but these had been set at naught by certain of his recent exploits in salesmanship. More than once, of late, he had experienced the acute distress of a frank soul that does not know whether it is lying or not.

“That’s what a joint like this brings a man to,” mused Hal. “First, intellectual dishonesty, in other words, blinking; and next, total blindness of the mind’s eye.” Amouretta’s lively blue glance dismayed him. Was that girl with pearls really a Price—a Price of deeper and fresher inspiration than was to be discerned in those Prices the great Farintosh was soon to show, on the Avenue? He could not believe his eyes. Yet there was the signature. It did not look like Maurice’s usual signature; but then, there was nothing like Maurice, in the whole thing. A new departure indeed! Hal’s spirit quailed.

“They always said Maurice Price could paint anything, in any way; but this stumps me. And it sure does give me a pain all over when I try to like it. Perhaps there’s something in one of those eyes that gets me, somehow. Is there, or isn’t there? If there is, hanged if I know whether it’s the near eye or the off eye!” Still playing the part of a buyer, Hal writhed in the buyer’s seat, a spurious Renaissance antique discarded by Maurice.

Hal was always immaculately dressed. Through thick and thin, he had kept his air of purple and fine linen about him. Never a morning without a white flower in his buttonhole; and day after day, his eternally crumpled bright blond hair was all that saved him from the dandiacal. But now! You would have been sorry for him had you found him humped in his counterfeit throne, his cigarette awry on his lip, and his carnation lying all forlorn on the parquet. Had fate allowed him but ten seconds more, he would have set himself right. Too late! Mr. William Saltonstall had just entered the gallery. The ruler of the Court of New Departures had hard work to pull himself together, and recapture his pleasant alertness. It must be done, however; Mr. Saltonstall was too good a client to lose. Hal sprang to his feet, kicked the carnation under the throne, and with it cast aside for the moment his problem of the true and the false in art, as if it were an entangling garment that would burden him in a race....

IV

The next day, Maurice Price, packing up his belongings to return to the city in time for the November elections, was puzzled by a telegram from his helter-skelter cousin. Just what could it mean? In telegrams, if in no other form of composition, the youth resorted to punctuation; he felt that periods gave clearness, an idea he had picked up while doing war work for the Government.

Can sell picture period

Top price cash down period

On condition immediate withdrawal from gallery period

Buyer buyer waits your wire period

Wrayne

As Maurice motored down to the station, the maple and beech leaves spurned by his tires rose up in their passing glory and sang Hal’s message, over and over, with variations; and on the night train, the wheels took up the refrain, with grinding insistence. “Buyer buyer waits your wire,” though probably due in part to a mistake at the office, sounded a little like the new poetry; Maurice hoped there might be truth as well as poetry in it. “Top price cash down” had its own music, of course; but “immediate withdrawal from gallery” was less pleasing to the ear. It had implications. That part of the message, reverberated in the too sonorous breathing of lower nine, just opposite, really annoyed our painter. As he afterward told Hal, adapting his language to his hearer, “it got his goat.” “Immediate withdrawal,” indeed! Such words were not to be addressed to a Price.

Emerging from the sordid practicalities of the Pullman, he sought his Club for breakfast; he felt that the morning air on his face, even in the few steps from the Grand Central to the Century, might supplement the sketchy passes he had made before the shiny Pullman basin, while lower nine, perspiring in purple pajamas, awaited his turn; lower nine, in waking as in sleeping hours, still suggesting “immediate withdrawal.” The offending phrase followed Maurice into the breakfast-room. He had eaten it in his grapefruit and was thoughtfully stirring it into his coffee, when Mr. William Saltonstall, that early bird among collectors, sauntered in, and after a moment’s hesitation, hastened to grasp his hand.

Maurice in his absorption did not associate his enigmatic “buyer buyer” with Mr. Saltonstall. Indeed, that gentleman was known everywhere as a connoisseur in figure-pieces; he never bought landscapes. Yet there was something unusual in his manner; his dark melancholy eyes, usually very gentle, were smouldering with a kind of suppressed excitement, in which both joy and pain were suggested.

“Surely I have the right explanation, haven’t I?” he began, with anxious courtesy.

“If you have,” replied Maurice, “I wish you’d share it with me, along with breakfast.”

Acting on a fantastic impulse to match another man’s perplexities with his own, he pushed the crumpled telegram across the table.

Mr. Saltonstall smiled. “Oh, yes, I asked Wrayne to wire you.”

A glimmer of light broke over Maurice. “Are you—by any chance—this ‘buyer buyer’?”

His friend nodded nervously. “Still waiting your wire! But I don’t ask immediate withdrawal, now. That is, if the truth is what I think it is.”

“But what is the truth?” cried the bewildered painter.

“You should know,” returned the other. “I have my belief, my strong belief!—but you, you have the knowledge! For God’s sake, man, was it a landscape or—a lady—that you sent down to that cousin of yours?”

Maurice could see that Saltonstall was trembling with emotion. In a flash, he remembered Amouretta. “Oh,” he cried out, in a shocked voice, “a landscape, a thousand times a landscape! Did you think I could have meant the other, the one on the back? Amouretta?”

Mr. Saltonstall looked relieved, triumphant, ashamed. “Yes, I did, at first! And why not, when it was just that ribald portrait, and nothing else, that Wrayne showed me there, in an exquisite frame, in his confounded Court of New Departures? I tell you, Maurice Price, I was wild when I saw it. In my heart I vowed vengeance on you and all your tribe. I couldn’t believe it of you—you, of all men; yet there it was before my eyes. I couldn’t let that thing stay there! No man, who felt as I did about Amouretta, could let it stay, to be gaped at by the multitude looking for new sensations in art, and to be written up in the art column of the Sunday papers! Oh, I admit, of course, there was something captivating about it, too; captivating as well as desecrating, yes. Well, I made Wrayne take an oath to put it away, away, out of the world’s sight, and send you a wire.”

Maurice of the compassionate eyes saw the drops of sweat gather on Saltonstall’s lean temples.

“You must know,” said the artist gently, “it was never I who painted that portrait of Amouretta. It was Anthony’s studio assistant; you remember, the lad that died just before our Roman Prize was awarded. If you’ve looked at the painting, you know, of course, there’s diabolically clever work in it. Those pearls—I couldn’t surpass them! But if you saw only that portrait (and right there, if you please, there’s something that Master Hal will have to explain off the map!) how on earth did you happen to find my landscape?”

Saltonstall smiled in his sad way. “Well, I wanted to be sure Wrayne had kept his word about hiding the picture, so I dropped in on him unexpectedly, yesterday afternoon. Wrayne was all right! The thing was swathed and roped and even sealed. In fact, he had insisted on calling in that famulus of his the day before, when I was there, and having him do all that in my very presence, while he and I sat back and watched.”

“Perfectly good gesture,” laughed Maurice.

“Oh, yes, and in the grand style, I assure you! Queer chap, Wrayne, but he’ll succeed, even though he doesn’t yet know the rudiments of his trade. Can you believe it, he had not observed that the painting was on wood instead of canvas! I was wild to see it again; I made him uncover it and show it to me. My wrath hadn’t gone down with the sun, I can tell you, but I had sense enough left to see that the frame was quite out of the common; good as the Stanford White frames, but different. So I stepped behind to find the maker’s name, if I could; and behold, a landscape of great Price! Wrayne never even knew it was there. Mistake of that famulus, I believe.”

“You liked it?” Maurice put the question almost timidly. The landscape he loved seemed to him suddenly to lose importance, in the presence of his friend’s deep feeling.

“You’ve surpassed your best self in it! I can’t tell why, but there’s something in it that assuages for me the grief of things; something of yourself that you’ve put into it, I suppose,—some beauty or solemnity that was not there, really, until you yourself brought it there, with your own two hands. Perhaps I never knew, till now, why men buy landscapes—” Saltonstall spoke dreamily. His recollective eyes, looking far beyond his listener, seemed to peer into some Paradise not wholly lost.

Both men were moved. They had more to say to each other, things not to be told over egg-shells and coffee-stains.

“I suppose,” hesitated Maurice, as they took their hats, “you wonder why I never painted out that figure on the back, at any rate, before I sent off the landscape?”

“Oh, no,” answered the other, simply. “I know how you felt, I do, indeed! You couldn’t quite bring yourself to do it, could you, even though you tried? Neither could I, I am sure. Something keeps me from wanting to destroy it; I don’t yet know whether it’s the person or the painting! Though, of course, I never saw any picture of Amouretta that was really right, except that one little thing of yours you showed last winter in the Vanderbilt Gallery; and what’s-his-name, the man at the desk, said very emphatically it wasn’t for sale—”

“No,” interrupted Maurice, “it wasn’t for sale, and never will be. It is one of the few things I couldn’t take money for! My wife and I intended to give it as a wedding-present to Amouretta. We both of us loved that child; we felt her roseleaf exquisiteness! Helen was so happy, tying up that little portrait in white paper. And afterwards,—well, I boxed it up and addressed it to you, with a note explaining it and begging you to keep it. But it was overlooked and forgotten, during my illness; and when I got up, I found I had lost my nerve about sending it to you. I feared you might not like it, or worse yet, might think I was trying to sell you something—”

“Oh, Maurice Price,” sighed the collector, “then even you didn’t know how much I needed Amouretta, and anything that would recall her truly, just as she was, and not as those who didn’t know her imagined her to be? We Saltonstalls—” But the rest was lost in the roar of the traffic, as the men crossed the avenue, and walked rapidly together toward the Court of New Departures. It was not too late in the day to read the morning lesson to young Hal; it would do him good. After all, though, he was a plucky chap; the sooner he had whatever per cent was coming to him, the better. An amicable three-cornered arrangement could be made, about that. Certainly, where there’s a quartette of skirts, somebody must pay the piper!

BITS OF CLAY

What a curious thing is a piece of clay, and, dear Lord, how willing it is, under our fingers! Look now, here is a bit of clay, no larger than a pullet’s egg, and no one knows what may come of it. Shall I mould you a few petals, with my thumb and forefinger, like this, and then shape up a closed golden heart, like that, and next fuss and fuse them all together, thus? You see, it is a rose! It has all the form a clay rose need ask, for the moment; if it had but color and perfume, it might be the rose of the world! However, I set no great store by it; I shall tear my rose in twain, to please you; and if you like, I will pinch up the lesser part into a bishop’s mitre, and the greater part into a churchly face, no feature lacking. Indeed, I will put in as many features as you suggest, though, of course, from the modern point of view, too few are better than too many.

Will you have Stephen Langton, or Thomas à Becket, or Saint Francis himself, God reward him, or would you prefer my dear old neighbor there across the street, Father Geronimo of the Carmelites? One is as easy as the other, when the clay is obedient. Or if by mischance you do not “love a priest and love a cowl and love a prophet of the soul,” I can easily transform my monk into—You would like to go back to that rose-of-the-world idea? Very well, we shall make the hood into a mantilla, thus, and the good priestly face into the flower-like countenance of a girl. The flower must have a stem, too, a well-rounded, slender stem; and the petal of her lower lip needs caressing. Surely you see that it is a girl; a señorita, signora, fräulein, mademoiselle, miss. A lady of any country; yes, perhaps even the gracious Madonna of all lands! What a curious thing is a piece of clay, and how willing it is under the fingers!

The boy Raymond Brooke had often seen and heard his father the sculptor do and say such things, while resting.

But—but—it was nevertheless a mistake of the boy Raymond, when, on finding a bit of clay in his hands, he looked about him with starry eyes, seeking something to adorn, with whatever he and his accomplice clay should create. And I hold it very strange, too, that on this bright June morning, with all the beautiful shapes still unsummoned from the deep, he could think of nothing better to mould into a fine symmetry than a pair of fierce moustaches and a goatee; and further, that he could discover no better use for these vain ornaments than to affix them neatly upon the countenance of the clay lady in his father’s studio, that noble new-made portrait of the venerable mistress of Highcourt.

Raymond was seven. Surely at this age, if ever, a child should show himself “un enfant déjà raisonnable.” The new governess had said so; she had added, in gentle despair, that without doubt it was different with the children of artists and the criminal classes. She was a puzzle-headed young creature from the devastated regions, and not yet hardened to life’s surprises. Her career among us had early been darkened by the discovery that the children of American artists have no real feeling for the relative pronoun, in French. And what, she passionately demanded of the elder Brooke girl, what would our noble French literature be, without its relative pronouns? She was in earnest, and looked very pretty and bright-eyed as she asked it. Raymond, poor Nordic, was fascinated by that slender dark streak above her upper lip. It seemed very firm and permanent, yet fragile and downy, too; he wondered whether, if you touched it, it would vanish. But Mademoiselle chose that moment to inquire of him, the youngest infant of the Brooke trio, whether he had the very smallest idea what a relative pronoun was, or even an ordinary pronoun, for example! Raymond was either unable or unwilling to throw light on the situation, and had fled toward the studio to escape his responsibilities. From Scylla to Charybdis, from French literature to American art! He was not thinking of his pronouns, either; he was thinking of that downy shadow. But this, I admit, scarcely excuses his grotesque conduct.

His father was not in the studio; the clay lady reigned supreme; a fine challenging old lady she was, drawing her breath with that superb kindliness the clay allows. The portrait was still, according to its creator, in the chrysalis stage. Later, it would be transformed into white plaster, and later yet, if luck held, it would issue, gleaming and triumphant, in spotless Carrara. The sculptor was by no means dissatisfied with that clay portrait; the world called it a speaking likeness. He himself found it a trace too masculine, perhaps; but that was inevitable, with a type so full of high character. He was glad it was so, because he knew well enough that the marble would only too easily soften and spiritualize his interpretation of the old lady of Highcourt, with her white hair nobly tossed up from her candid brow.

She was a very beautiful old lady, truly; no one denied that; straight as an arrow and graceful as a palm, for all her seventy years; not fat, not lean; greatly given to charming clothes, too, and not particularly scandalized by our shocking modern custom of short skirts for all, especially grandmothers. You see her own feet were very shapely. And her profile was that of Cato’s daughter, softened by centuries. All the little wrinkles around her eyes were kind and smiling ones. No wonder those college girls had voted that the old lady of Highcourt should be immortalized in fair Carrara, at a fair price, and shrined in a niche in their stately new Library, her gift.

But Raymond, you remember, was only seven years high in his sandal shoon. His nose hardly reached to the top of the modelling-stand. He was forced to mount a box to carry out his decorative intentions. The little typewriter box would do. Now! A slender sausage of clay moustache on the left of the lady’s mouth, another on the right; for the chin, a rather stouter lump. No compromises anywhere; swift work, and sure. Raymond stepped down from his box, and walked slowly backward, quite in his father’s manner, to study the effect. Alas, how brief is the delirium of design! Raymond’s flight of genius was over, and the result appalled him.

Indeed, it was rather remarkable, that transformation; and very curious is the power of a bit of clay, in willing fingers! That beautifully modelled countenance no longer suggested Madam Randolph of Highcourt; it had become the face of some Light-Horse Harry, some devil-may-care D’Arcy of the Guards. If that portrait had been scarce feminine enough before, what was it now, with those singular additions bristling from lips and chin? A warrior, no less. A moment ago, a lady; at present, a grenadier! An uninstructed observer, suddenly encountering that piece of family sculpture, might well ask, in his bewilderment, “But why does the noble Confederate officer wear a lace kerchief over his epaulets?”

Raymond himself could no longer endure the power of his own performance. He darted back toward his box, to annul his handiwork. Too late! In his terror he heard a voice in the garden, near at hand; his father was talking with the old lady of Highcourt.

Having finished their excellent morning sitting (indeed, it was the last sitting that would be needed until marble-time should come), artist and model had strayed into the garden to see the Antonin Mercié phlox in all its glory; Raymond’s father made a specialty of that, in honor of M. Mercié, his old master in sculpture. The two had touched lightly on many topics,—phlox, M. Mercié, old masters, sculpture,—que sais-je? And now the old lady of Highcourt, with a new thrill in her voice, was speaking very earnestly about a projected portrait in bronze, a work the sculptor seemed unwilling to undertake. He said, with force, that he much preferred to work from life. In working from photographs, he couldn’t do justice to himself, or his subject, or his client. And the old lady was ruthlessly chaffing him because, in his Northern way, he was putting himself, the artist, first, and herself, the client, last. Her face beamed with mischief as she spoke. Beware of that old lady, she has her designs on the sculptor; she means, by hook or by crook, to make him do her bidding! She has managed many men, in her time; and always in her own way, so that they shall not perceive what is happening to them, until at last they have become the willing clay in her fingers.

However, Mr. Brooke was holding out bravely; I’ll say that for him. He had had previous experience in making bronze portraits of dear women’s dead fathers. He well knew that the odds were bitterly against any artist who should pledge himself to show forth Father, in his era of prosperity, just by imagining all things from a dim, lean profile of Father in his salad days. In short, according to Mr. Brooke, we were now in the nineteen-twenties; and back in the nineteen-tens, he had taken an oath, had Mr. Brooke, never again to interpret for the world, by means of the willing clay, just how a great man who died in the eighteen-eighties really looked in the eighteen-seventies, when all there was to go by was a wraithlike, looking-glassy daguerreotype of the eighteen-sixties. Yes, Madam, no matter how elegant the crimson velvet brocade that lined the little leather case! The old lady of Highcourt had plenty to say in answer to that; but long before she had begun to say it, the culprit Raymond, stricken by the lightning of his own genius, had fled away, away on sandalled feet, to hide behind the tomato plants and the tall corn.

A great persuader, Madam Randolph! She refused to see herself as beaten. “I don’t ask you to promise me anything to-day. I only ask you to give this matter your prayerful consideration. And wouldn’t it be rather criminal on your part if you, a strong man, should allow me, a weak old lady, to degrade our American art by giving this commission to some one else, who would no doubt make a bigger mess of it than you will? Mr. Brooke, you don’t know how much I want to leave behind me, for those grandsons of mine, at least some inkling of what my honored father looked like in Civil War days!”

They were stepping into the studio. It was a high step, but the old lady was a high-stepper, and Mr. Brooke chuckled over her disdain of his helping hand. Suddenly his smile vanished. A look of incredulous horror engulfed it utterly. His precious handiwork had been profaned, Southern womanhood insulted!

“Good God, what devil has been here?” He himself groaned aloud the shameful answer, “That devil Raymond!”

It is hard to find a really neat thing to say at such moments; luckily actions speak louder than words. In wrathful haste, the sculptor strode forward to kick away Raymond’s box, and to tear off those bits of clay foully misplaced on the portrait of a lady.

But the dame of Highcourt, though in her seventies, had a longer and quicker sight than even Mr. Brooke himself; she had a larger experience in the misdeeds of the young; it was she, not the sculptor, who had spied those sandalled feet winging toward the tomato plants. And indeed she was a valiant little old person, whom life had trained to all sorts of ready readjustments. Long before Mr. Brooke had worked himself up to anywhere near the height of passion he fully intended to reach, Madam Randolph had viewed the situation by and large, and had resolved it into its elements. With a singular phrase, borrowed no doubt from her grandchildren, she pulled our sculptor down on his haunches, so to speak; she stayed his hand in midair.

“Cut it out, old dear,” she said soothingly, as if she were reining in her favorite thoroughbred. “And oh, won’t you please, please, stop, look, listen? Mr. Brooke, Mr. Brooke, can’t you see what it looks like? Dear sculptor-in-wrath, it’s my father, Dad to the life; it is, indeed, Captain Carteret! Ask any one who ever saw him. All it needs is the uniform!” And she brandished in triumph before Mr. Brooke the dim daguerreotype he had just refused to consider.

Well, what can we all do when events literally leap out of our hands, and shape themselves firmly, in defiance of our ethics and ultimatums? An old lady and a piece of clay are matters to be considered; they are curiously frail things under our fingers; we shall not shatter them unnecessarily. Mr. Brooke saw that Madam Randolph was right, in the main; and when she said, in a voice trembling between laughter and tears, “You will add years to my life if you do what I ask,” what could he do but yield? There were to be two portraits, then; that was settled. The lady’s would be in marble, the officer’s in bronze; Raymond’s genius for clay had arranged it. But Mr. Brooke, for all Madam Randolph’s challenging eyes, refused to model those moustaches in her presence.

“No doubt my boy Raymond might do it,” he said, with a slight acerbity. “He appears to have the soul of a barber.” He was still smarting a little from the profanation of his own sacred handiwork; one did not expect a woman to understand how one felt about such things.

Who shall measure man’s ingratitude? Was Raymond ever congratulated upon his own small part in that day’s playlet? Not at all. Behind the tomato plants, in the cool of the evening, could be heard the lamentations of a small boy; and behind the small boy—but I make an end.

In his little white bed, a subdued Raymond sobbed out repentance, in long-drawn gusts. “Oh, mother dear, I didn’t mean to spoil father’s lovely lady, I didn’t, I didn’t!” His mother said to herself, in fine disdain of human decisions, “And this poor suffering child must not be told what a lucky thing for him his badness really is; he must not find out that his disgraceful act has put into our family coffers enough to earn him his new pony!” She marvelled at the complexities, nay, the complicities of parenthood. And Raymond, soon to be cast up safely into dreamland on the ebbing tide of remorse, repeated, in a diminuendo of infantine rhythms, “Mademoiselle ast me so very suddingly something I couldn’t know—I only wanted to see how the lady would look, with whiskers—I made ’em just like Mr. Smith’s at the grocery-store—The clay felt so curious under my fingers—”

THE YOUNG LADY IN BLUE

As my wife says, I am by nature unduly sensitive to beauty. You would hardly expect this fault in a sculptor—you who perhaps judge all sculptors from the war memorials you have seen. And with me, the worst of it is, I am even more susceptible to color than to form. My long acquaintance with form has put me on my guard against its wiles, and my joy in beautiful shapes is forever enhanced by the free play of my critical faculty. But in the presence of lovely color, I am unarmed, weak-kneed. All I can do is to take pleasure in it, for I do not know enough about it to be critical, in any satisfying way. This explains why I fell, and fell far, for the young lady in blue. I admit that I would not have done for Senator Bullwinkle just what I did for her.

Yet, when I first saw the young lady, she was not in blue, if you forget for a moment her forget-me-not eyes. She was in deepest black, and, I have reason to believe, the most expensive and fashionable black to be had in New York. Gigi Arcangelo, my seldom-sinning super-assistant, broke all the rules of the studio when he let her in, that bright May afternoon. Gigi knew perfectly well that after a vexatious sitting from Senator Bullwinkle (who, in order to keep awake while posing, always had his speeches of a decade ago read aloud to him by my wife) I would be in no mood for trifling with mere beauty. Gigi knew that I needed three hours of uninterrupted work on my head of Christ, before I could well show it to an enlightened Bishop; he knew that I was behind with my Iowa figures; he knew that my bust of General Daly ought to have been finished, boxed, and shipped a month before; he knew that my big clay relief of the Spanker-Sampson children had developed a crack across the nose of the middle boy, making him look more cross-eyed than he really was, so that his likeness was wholly unfit for the inspection of a fond and fabulously rich Middle-Western aunt, due to arrive on the Wednesday. In short, Gigi knew that I was counting on this priceless afternoon, of all the afternoons of my life, to justify, yes, to glorify, my career as an artist. And to think that at such a time as this, he could show in that girl, simply because, as he afterward explained, to do otherwise would have been, for him, impossibile, she was si bella, bella! Gigi shared my weakness, you observe; he too was pledged to beauty.

At arm’s length, he pushed up her card to me as I stood on my high ladder. The name was a long one, beginning with C and ending in en—Chittenden, of course. I waved away the name and would have had Gigi do likewise by the owner. Too late! She was already inside the door. Grudgingly enough, I climbed down from my head of Christ, well resolved to make short shrift of the girl and all her works. But even before I reached the ground, I was somewhat disarmed, because, clad wholly in black as she was, with the heavenly young radiance of her eyes merging softly into the faint rosy radiance of her uplifted face and the shadowed golden radiance of her hair, while the three radiances together were enclosed within the black-rimmed, transparent circle of her veiled hat, she was beyond any mortal doubt an engaging sight. I caught myself saying, under my breath, “Oh, happy hat!” This struck me at the time as an asinine remark, even when privately made, and I ascribed it to the spring season. Looking back, I see that the observation was quite correct. In reality, the girl was just a complex of radiances, bounded by black; sweet and twenty, and in mourning.

Walking respectfully behind this glorious sad young person was a footman who failed to supply the contrast of usefulness to beauty. He was not even carrying the white oblong box which was evidently one of the properties of this ill-timed visit. I saw with relief that it was too narrow to contain a death-mask. Miss Chittenden held this box between her hands as if it were a very precious thing; a fold of her veil had been laid reverently around its corners. In her unconsciousness of self and in her absorption in the business that occupied her, she seemed to me a figure both sculptural and symbolic. Turned into stone, she would have been a Pandora on an antique vase, or rather a Saint Cunegonde or Saint Scholastica weathering the centuries on some mediæval portal. All her motions had a kind of free and classic largeness mingled with their high-heeled modernness; yet her attitude toward that box was, as I told myself, purest Gothic.

As we undid the box together, Miss Chittenden explained that ever since she had seen my statuette of a Dancer in the new Museum in her home town, more than a year ago, she had longed above all things to possess a piece of marble from my chisel, my own chisel; “the personal touch, you know!” So (and here the forget-me-not eyes became more misty and the young voice more vibrant) when her mother died, in April, she had had a cast made from her mother’s hand, which to her was the most beautiful thing in the world; and she hoped, oh, so much, that I would be willing to copy it for her in marble. Done in the way I would do it, she was good enough to say, it would be something really living—something she could have and love forever and ever.

My dismay was complete. Indeed, copying plaster casts in marble was not at all in my line. Right or wrong, I felt myself capable of higher things. Apparently this Miss Chittenden was not only classic, mediæval, and modern, but also quite Victorian, all in the same breath. For surely it was a preposterous Victorian idea of hers to want a marble hand! As we drew the cast from its wrappings, its fragile beauty moved me, I confess; but I steeled myself, steadfastly considering how on earth, without hurting the girl’s feelings, I could make her understand my point of view.

“The hand is perfection itself,” said I, in all honesty. “And,” I added, glancing at her own hand, from which she had removed her ugly black glove, the better to handle the cast, “it is very like your own, in construction; I mean—”

“You mean my hand is built like hers, but it’s not so pretty—”

“Not so small, certainly!” I wondered whether this might vex her a bit, on her Victorian side. But no, she seemed rather pleased than otherwise.

“I’m three inches taller than mother was,” she observed, cheerily. “Her size hand wouldn’t have looked at all well, on me.”

Really this girl had some sense. Besides, she was quick to divine that the commission she was offering me was not precisely attractive to me. She seemed to search for the cause.

“You know,” she said, eagerly, “I wouldn’t want to hamper you in your imagination! Oh, no, not that! I wouldn’t dream of asking you to copy the cast just as it is. It would be all right if you put in a Bible or something under the hand, and some lace around the wrist, or some knitting-work and knitting-needles sticking out from the book. Mother often left her knitting at a favorite passage, so that when I came to put away her work at night, as I always did, I might guess what text it was that interested her. We made a regular game of it. And” (here she flushed and hesitated) “I’m perfectly willing and able to pay the going price for any extras you put in. Only, I don’t really know much about such things.” Her smile was wistful, rather than embarrassed; but in an instant, it had widened into a boyish and wholly fascinating grin. “I don’t know whether it shows on me or not, but this is the first time I’ve ever been East. I suppose I’m not so—sophisticated and so on—as if I’d had a genuine Eastern education, as mother had. Oh, but you don’t know what it is to have first a Missouri uncle and then a Fifth Avenue aunt protecting you to death, every step you take! I might have asked Auntie all about this kind of thing, of course. She has lived in New York always, and knows the ropes. You see, I’m staying with her until I go abroad in June. But, I just didn’t want to talk with her about it. I’m my own mistress, now! The moment I saw that Dancer of yours, I said to myself, ‘When I come into my own money, I shall have that man carve a piece of marble for me, and do something to elevate American art!’ And now the time is come.”

What I ought to have said then was this: “My dear young lady, if you really want to advance your country’s art (and very laudable it is on your part!) and if you insist that your heart’s desire is to be carried out in marble, by my chisel, as you put it, why in the name of all that’s young and gay and jubilant don’t you ask me to do you a dancer, or a fountain figure, or a nymph, or a faun, or even a mantelpiece, with some joyous caryatids?” But I didn’t say anything of the kind. Besides, a horrid thought came to me that perhaps she might not understand caryatid, or might get the word confused with hermaphrodite, as I have observed that tourists returning from Italian galleries sometimes do, even when duly instructed. Indeed, the forget-me-not eyes rested so lovingly on the plaster cast that I hadn’t the heart to be coldly frank with her, and to tell her that in a few years the marble hand she now wanted might seem an encumbrance; something that for old sake’s sake she couldn’t bear to tuck away in the attic, and yet something that one really couldn’t, if one kept up with the times, put in a glass case on a library shelf, or on one’s own dressing-table. Some of our sculptors might have managed it. I can imagine that brute of a Schneider, for example, telling her that there was nothing in it for her; that a “marple hant would be too pig for a baber-wade, and too liddle for a lawn-tecoration.” He would be able to suggest that the proper move for her to make would be to build a fine large monument to her mother, with the hand “joost as a veature.” But since I’m not Schneider, all I could say was, “This cast is beautiful, indeed, but aren’t you afraid that when translated into marble, it will no longer seem so lovely and so living to you?”

“Ah, but,” persisted the girl, “the marble of it is part of all I want! All I want is mother’s hand, done by your hand.” She blushed, and so did I.

“It’s very kind of you to want my work,” I stammered. “Really, it makes me feel awfully grateful, and humble, too! But do you realize that very few of our sculptors carve in marble the things they model in clay? The custom is, to let some carver, generally an Italian, do most if not all of the marble-carving, just as it’s the custom to have a bronze foundry cast our bronze statues. You see,” I went on, warming to my task of educating this bright being, “things are different now from what they were in Cellini’s time, or Michael Angelo’s. In Renaissance days, a sculptor could do the whole job from start to finish, if he wanted to, but to-day, he can’t, and doesn’t want to. He saves himself for what he fondly thinks is the imaginative and intellectual part. He models in clay, of course, but there’s a lot besides that. There’s building armatures, and making plaster casts, and so on; and he generally lets Gigi do it.”

We glanced at Gigi, who, for the second time that afternoon, was sinning. Gigi had not retired to his customary labors behind the burlap curtain, but was standing near us, carving at a bit of plaster medallion, ostensibly turning it this way and that to get a better light on it, but in reality feasting his Latin eyes on Miss Chittenden’s beauty. And then Gigi, usually a silent soul, did a strange thing. He began to talk, very eagerly.

“The hand of the Signorina’s mother is truly beautiful.” (The Signorina giggled, and then was shocked by her own levity. She told me afterward that she couldn’t help laughing; she had felt as if Gigi were pouring out a page from a foreign-language grammar all over her.) “In marble,” continued Gigi, “the marble that grows in my part of the world, how very fine it would be! I myself could well begin it, and the Signor could finish it. You have seen the art of the Signor! Many sculptors cannot do what the Signor can. It is the morbidezza! The others do not attain it.”

Miss Chittenden flashed upon Gigi a smile more dazzling than any she had yet given to me. “Now as I understand it,” she cried, “he could rough out your design and do the heavy work on it, and then you could take the marble and finish it up, and give it the more—what-do-you-call-it?”

We all three laughed aloud at that, and while I was trying to explain to the girl, as tactfully as possible, that after she had been abroad and seen the works of art in many countries, she might not care for a marble hand on a book, even with lace at the wrist, and with knitting-needles sticking out of the book, Gigi returned to his den, from which one then heard the sound of hard labor. I was finding it rather difficult to convince Miss Chittenden that she was asking for what was obsolete, from the world’s point of view, and impossible, from mine. I tried to dissuade her by telling her that it would be only a fragment. With astounding quickness she replied, “Oh, but that wouldn’t matter, would it? Lots of those old part-gods in the Museum are only fragments, and yet the teachers in the Art Department are always praising them up, just the same!”

Before I could frame an answer to that, Gigi emerged, pushing before him a little stand on which was a block of fine pink marble which I had obtained years before, in peculiar circumstances. It was a piece I had long been guarding for some future master-work of mine—something that was to be absolutely original, yet wholly classic; one has such dreams. And here was Gigi showing it to that girl! His admiration for her had become so boundless that he opened up his heart to her in all the three languages he could use. If the Signorina would deign, he would explain to Mademoiselle that this was a little, little block of marble which his own cognato had stolen one night (knowing it to be a good action) from the workshop of the marvellous Duomo which she herself would see when she saw the most beautiful cathedral in all Italy! And his brother-in-law had sold it to a great sculptor who was visiting Italy at that time, but of course did not know it was stolen. (Gigi was lying a little, but his lying blends so agreeably with his candor that I myself cannot always distinguish one from the other.)

I saw that the blue-eyed girl was thoroughly enjoying Gigi. Though this was before the day of the so-called Greenwich Village, I am sure that Miss Chittenden thought that now at last, freed alike from her Missouri uncle and her Fifth Avenue aunt, she was seeing Bohemia; perfectly respectably too. If only a celebrated model or two had strayed in, her happiness would have been complete. As it was, she garnered up Gigi’s sayings with the same single-hearted attention she had given to my own. He explained, in his party-colored way of speech, that this little block was marvellously fine in grain; it was free from dark streaks, too—he would stake the tomb of his fathers on that!—while its crowning exquisiteness lay in its color, a pale surpassing pink as of earliest dawn over Tuscany. There was no other marble in the world quite like it. That was why his cognato had been obliged to steal it, for the sake of art. If you had any taste at all, any love for the beautiful, you would call it using, not stealing! And again, behold! While it was too small for a head (except a bambino’s head, and it was a little too long for that, unless you wasted a great deal, and certainly it was more of a sin to waste such marble than to steal it), it was just exactly the right size for the dear hand of the Signorina’s mother, lying upon the open book, or even on the closed book, with the knitting-needles protruding; difficult, of course, but where there’s a wish, there’s a road—

I stared astounded at Gigi. In all the ten years he had worked for me, I had never heard from him so many words at once. I could not dam the flood.

“Ah, oui,” he pursued, “certamente Mademoiselle could have the lace around the wrist, if she so wished, and—”

“No, Gigi,” I interposed firmly. “The lady cannot have the lace. Not with the knitting-needles. At one or the other I draw the line.” Again, we three laughed together. What was there about this dewy-eyed girl that made us so natural and human? Was it the Missouri in her? Old Schneider was from Missouri, but he never made me feel human. Was it her beauty? Very likely, but at the time, I doubted it. One always does doubt it, at the time. The result was, as I have already confessed, I fell for the girl in blue, as I was to call her in later days. I weakly told her that if Gigi would rough out the hand and the book, in the pale pink marble, I would be willing to finish it for her; yes, I added cynically, I would put in all the morbidezza the most exacting client could require. I would charge her four hundred dollars for the completed work. It was a high price, I told her. Others might do it for less; not I. And mind, there were to be no knitting-needles and no lace, unless I should greatly change my idea. She drooped visibly, not at the price, which seemed to be of little moment to her, but at the loss of the homely details in the work by which she hoped to elevate our art. To console her, I said that I would probably design a bit of drapery to take the place of the lace, but nothing fussy or obtrusive. I told her that she could have the thing completed, on her return to New York, a year later. Just as she was leaving the studio, to rouse the footman from his colored supplement in the anteroom, where he had remained, doubtless under orders from Auntie, I pulled myself together to contemplate the extent to which I had fallen. Perhaps I could climb up again. Perhaps my high ideals in art were not lost forever.

“Remember, Miss Chittenden,” said I, in what I hoped would be an impressive manner, “remember this! If after you have visited galleries and studios abroad, and seen the works of Rodin and Dampt and Donatello and Bourdelle and Praxiteles and Maillol and a few others, remember, if one year later, when you’ve had more observation of art, you should no longer care to have this hand in marble, I for my part will call this contract of ours null and void; and you may do the same.” It sounded well, as I said it.

The blue-eyed one flashed back on me her friendly, all-conquering smile. “I shall remember,” she said. “But you know, my name isn’t Chittenden, at all. Never was, and never will be, I hope! In fact, I have other plans—but no matter! You thought I was a chit, and so you called me Chittenden—”

This bit of girlish reasoning struck me as being so straight from Sigmund Freud that I was disconcerted. But she hastened to cover my confusion.

“It’s all right,” she laughed. “I didn’t want to take up your time by correcting a perfectly reasonable mistake. And if you’d rather call me Chittenden, pray do! But my name is really Clarenden, with Mariellen in front. See!” She offered me another of her cards. Her face took on a look of charming gravity as we shook hands. “Whatever happens,” she said, “I know you will be very careful of the plaster cast. I know you understand my feeling about it.”

The following April, Mariellen Clarenden wrote to me from Paris, to tell me that I might expect her in my studio about the middle of May. She had visited the Salon, she said, and had seen strange sights in the world of art. Also, she had worked hard on her French; luckily, she added, she had a good Missouri foundation. The closing sentence of her letter went to my head a little. “Mon Dieu,” she wrote, “Mon Dieu, how great you are—you and Auguste Rodin!” “Mon Dieu,” indeed! Was this girl becoming sophisticated, like the others? Time would tell.

Early in the morning, on May 15th, I had a telephone message to the effect that Miss Clarenden, according to promise, would revisit my studio promptly at ten, if I would permit. As I have always been a collector of coincidences, I noted with zest that May 15th was exactly one year from the date of my absurd one-sided party-of-the-first-part contract concerning the marble hand. I further noted, not without dismay, that Senator Bullwinkle was to have his final sitting that very afternoon. Still adding to my collection, I recalled that it had happened like that the year before; Clarenden day had been Bullwinkle day, a day of mingled sun and cloud.

Now that Bullwinkle bust had always been a vexation to my spirit, partly because old Bullwinkle had so often played truant, instead of giving me the necessary sittings. He was forever travelling about the country for political purposes, or else attending the funerals of near relatives. Sometimes I fancied that he would go to any lengths, no matter how criminal, rather than face me from the sitter’s chair. The commission, given to me by a group of Bullwinkle enthusiasts, was to be handsomely paid, but was to be kept a profound secret from the world until the finished bronze bust should be set in place as the crowning ornament of the celebrated five-million-dollar Bullwinkle Building, at that time under way. To me, there was something rather childish about this pseudo-secrecy, openly kept up for nearly two years. But above all, that bust bothered me because I myself had not yet mastered it. As it stood there in the searching May light, I saw in its loose ends, its uninteresting planes, its prosaic light-and-dark, its flabbiness of brow and cheek, its dreary wastes of shirt bosom and lapel, only a monument to my own incapacity to seize and reveal the characteristics of my subject;—to tell in my clay all the news that was fit to print about him, with just enough more to keep the spectator guessing. Lord, how I had tried, and failed, to penetrate the Bullwinkle personality! At first, I had privately laughed at the Senator as a ridiculous old card, holding on to the present and yearning toward the future, but in reality, living only on the past and its triumphs. Indeed, his middle years had been a pageant of triumphs. Very soon, however, I found I was not getting on with my work. The man worried me. I could not discover what there was within him that had lifted him above the shoulders of the crowd. I could not for the life of me isolate his own private germ of human grandeur, and inoculate my clay with it. Yet I acknowledged grandeur in him. It would be absurd to attribute to anything so blind as chance his astounding command over human votes.

To be baffled by a Bullwinkle was a chastening lesson. I dreaded that afternoon sitting. My wife was away, and there could be no readings from the “Congressional Record.” What would that do to him? Would it bring him out, or shut him in? To get a running start, I had pulled the bust out into the fresh morning light, and like a dull child trying to find his place in yesterday’s lesson, I was fumbling about on the pedestal, the shirt-front, and the senatorial dewlaps, when a ring at my door and voices in the anteroom warned me to slip a cover over this work of high secrecy.

What a contrast to the various Bullwinkles of my career was the young lady in blue, who now stood before me! This time, she was followed, not by a mere footman, but by a young man wearing her colors in his tie and his heart on his sleeve. There they were in their victorious springtide, the suitor and the suited; for there could be no earthly doubt that this young man was hers, and that the two were lovers forever. That was evidently what was most of all in their minds, and I, for one, thought they were right. Incredible as it would have seemed to me if I had not been there, Miss Clarenden’s former radiancy was enhanced by her new experiences, her bright garments. What an exquisite thrilling azure was that of her veil as it fluttered against the discreet dark blue of her costume! Maxfield Parrish should have been there to immortalize it. Yet I did not regret his absence, at the time. There were all kinds of lovely blue tones about her, and these tones in their very harmony conspired together to make the blue of her eyes something beyond description matchless and unforgettable. She was one of those girls who, whether they put on a pinafore or a Paquin gown, manage to make mankind believe two things: first, that they are more beautiful than ever, and next, that what they have on does not look too expensive. There are a few such girls left, I am told. The mere sight of her smoothed out my Bullwinkle worries.

She came to the point at once, taking advantage of a moment when her cavalier’s manly attention was caught by the workings of an enlarging machine in the corner; her Jack was an engineer, it appeared. She paused an instant, then plunged in, somewhat breathlessly, as if she were not quite sure of her ground.

“Jack and I,” she said,—“well, we think now that perhaps you were right in what you told me a year ago. Yes, you were right! I was mistaken when I thought I would be fully satisfied if I could have forever with me the marble copy of mother’s hand, carved by your hand. Travel is so broadening, isn’t it? And now, since I’ve seen all Italy and France” (here she smiled widely at her own fatuity), “I’ve learned better, indeed I have! And if you don’t mind, I’ll take away the plaster cast. I shall want to keep it always, of course. But it’s nature, not art, that makes me want to.”

I stood aghast. The girl was actually taking me at my word, and repudiating the contract of yesteryear. What a change in a twelvemonth, and, O Education, what crimes are committed in thy name! She saw me looking about for her cast, and very gently begged me not to bother, unless it was quite handy. Resisting an ironic impulse to tell her that of course a plaster cast of a hand was always more or less handy, I dusted off her confounded box, and gave it to her with what courtesy I could muster. I remembered Gigi’s saying that to do otherwise would have been impossibile, she was si bella, bella.

It chanced that not six feet away from the lady in blue, and behind a little curtain adroitly arranged by Gigi, the marble hand was enshrined. And strange as it will seem to you after all I have said, there was something interesting about it, something that would compel your pleased attention, even if you were an artist, or only a lover of art. Paul Manship liked parts of it; and a painter friend of mine said—but no matter about that now. Gigi had poured his whole Mediterranean soul into his part of the work, and I had designed, as best I could, the open book and the drapery. To be candid, I had taken real pleasure in finishing the marble, with the desired morbidezza. I had enjoyed every stroke I had given to that most beautiful stone, for Gigi had kept my tools in exquisite condition all the time. He seemed to know just how I wanted every tool to feel in my hand when I was modelling the marble. I longed to show the girl what we had done for her. But how could I do that, after all I had said to her, a year ago, and all she had said to me, to-day? Was there not a certain sprightly finality in her remarks? With decision, she took the box from my hands and entrusted it to her Jack.

“Au voir,” she sang to me, over her shoulder. “Au plaisir de vous voir! But I shall come again, if I may. Very soon, n’est-ce-pas?” The good Missouri foundation was quite evident in her farewell address.

Naturally, I was nonplussed. Think of it, I, a rising—yes, you might say, an arrived—young sculptor, in Manhattan, and she, a chit of a Chittenden from Missouri! But my chagrin was as nothing to Gigi’s. For of course I had not meant to pocket that money myself, just for a few hours’ pleasant work on a bit of pink marble. I was intending it as a sort of well-earned present for Gigi, who has, you must know, a rather large flock of kids to be shepherded up to the highest pastures of our American democracy. There was one little fellow named Mario, the most gifted of all, and he had been hard hit by infantile paralysis; we were planning to use this money for his special education in art. And now the chit had left us planted there, with nothing but a raw n’est-ce-pas for our pains. It served me right, I admit. But what of Gigi, and the lad Mario? Why, Mario could model you a better rabbit out of yesterday’s chewing-gum than Schneider could ever evolve from the fairest block of marble in Milan Cathedral. That girl had talked of elevating American art; and here she was, actively stifling American genius. I could not meet Gigi’s eye. Perhaps, after all, there was no great contrast between the young lady in blue and the Senator, except on the surface. The world was probably full of chits and Bullwinkles.

That afternoon, the dreaded sitting began badly. The Senator missed my wife and her ministrations. He was writing his memoirs, and wanted to refresh his memory about his third tariff speech. His secretary was no good as a reader, he complained, but my wife had seemed to have some sense about her. He couldn’t understand why a woman of sense should want to go gallivanting. His manner implied that it was wholly my fault that my wife should prefer Bar Harbor realities to Little Rock recollections. Half-peevishly and half-humorously, he writhed about in his chair, like a bad little boy grown old. He did not like the cigar he had brought, and scorned the best I could offer. He drove me to despair by presenting square front view when I needed to verify dewlaps in profile; he brushed off imaginary flies from his Roman nose, just as if my studying his nose had made it itch. He attempted every grotesque perversity in the sitter’s calendar, and even invented some original bedevilments of his own. He turned his attention to my rendering of the details of his attire, telling me that he had always tried to tie his tie as tight as he could get it, and that if I didn’t mind (indeed, I did mind!) he wanted to have that third button of his waistcoat fastened up, if the dam’ thing was to go down to posterity in imperishable bronze. Alas, my sitter was eluding me again. His reality as a human being was hidden from me in a fog of momentary misconduct.

Suddenly the Senator straightened. He was looking toward the corner where a stricken Gigi was still hovering about our rejected collaborative masterpiece, and contemplating the wreck of Mario’s future. “Where on God’s footstool did you get that hand?” shouted the Senator, the big W-shaped vein on his left temple swelling in his excitement.

“Gigi and I made it,” I replied, calmly accepting the fact that either the Senator or I had at last gone crazy under the strain of the Bullwinkle bust. The man had never before shown a spark of any interest whatsoever in my works, whether clay or plaster, bronze or marble. I wondered whether a strait-jacket would have been a good thing to include in my studio equipment, but I was not quite sure which one of us needed it the more, so bewildered was I by the change that had seized on the Senator. He bounded from his chair, snatching the ground, one might say, from under Gigi’s feet.

“That hand,” bellowed Mr. Bullwinkle, shaking his forefinger at me as if I were his political opponent, “that hand is a fine thing! I tell you, it’s a great thing! It’s the best thing you’ve got in your whole shooting-gallery, and don’t you start in to deny it! I’d rather have that one piece of alabaster marble than the whole of Westminster Abbey!”

To my amazement, the Senator stood at bay over the marble, as if it were a prize to be defended against all comers. He fairly flamed with intensity. I never saw a man more alive, more tingling with a sense of being alive. For the first time, I could learn, from my own eyes and not from historic hearsay, something of his power over his fellow-men. His eyes looked large, his jowls turned taut, his upstanding hair, which I had thought almost ridiculous, became sublime. He seemed a creature expressly framed for the applause of listening senates. In a twinkling, and when I least expected it, I saw more of the real man than I had found out in all my passionate searching during those frustrate sittings. No doubt, my searching had helped toward my present illuminated vision; that vision was but the culmination, the happy ending, of my quest. Like Childe Roland, I had been expecting too much, perhaps, from my Dark Tower. What a fool I had been to suppose that the Senator’s germ of greatness lay in some noble difference between himself and others! Why, it was plain as day that his greatness lay, not in his difference from the rest of the world, oh, no, not that; his greatness was mainly in his rich, happy, sympathetic commonness. He was not so much a man above men, as a man among men. My mistake was, I had been trying to win the Senator; I should have let him try to win me, according to his bent and usage. So I sprang back to my modelling, and let him be himself. It did not matter to me, now, that he was striding, gesticulating, quivering; at heart, I have always believed, with George de Forest Brush, that a model on the move, and really alive, is far better to work from than one sitting still as a sod.

And now, as I studied my man anew, I perceived all at once that a dozen good dominating strokes rightly placed on my clay could turn it from a mess to a masterpiece. I became two persons, as every artist at times must. Each was sharply awake. One of these two was modelling for dear life on that portrait, smiting the thing now here, now there; unhasting, unresting; gathering up rich handfuls of all the released individuality of greatness that I now saw radiating from a transfigured Senatorial countenance, and compressing that individuality into clay for the plaster-moulder’s sacrifice and the bronze-founder’s furnace. The other man in me was listening amiably to a Bullwinkle speech of self-revelation. I suppose that under my skin there was even a third person, ironically reminding me that it was never my hand that had touched the button to switch all this new light on a stale matter. It was another hand, a lady’s hand, a marble hand, too; and a hand rejected by a chit. Such reminders drive a man to humility, even while he is winning the game. For I was winning; there could be no doubt of that, now.

“You young artist fellers,” the Senator was saying, vehemently, “of course you all think of me as a tough old politician. So I am, and so I want to be! But the mistake you make is, thinking I’m nothing else. That young Mather that painted me was just the same. He made a swell portrait of me, of course, red plush curtain and all;—I know enough not to deny that. But he wasn’t so much interested in me as he was in his way of painting me. And it shows in his work, sticks out all over!”

I took to heart this luminous bit of art-criticism while the Senator ran on. “And I can tell you, young man, that this hand carries me back in a way you don’t dream of. You don’t even guess at the sort of feeling I have when I look at it and touch it! You’re incapable of knowing! You’re not old enough or wise enough or kind enough, perhaps! You’re too college-sure in your own way of feeling to care a continental about what I feel!”

I could not help seeing that some strong emotion had visited his heart. But I thought he’d like it best if I didn’t say much; besides, I had my work to do. The Bullwinkle Building must not lack its crowning touch through any failure of mine to seize the supreme moment. So I calmly swept my big tool alongside of the Senator’s clay face, half-erasing a thousand fussy unnecessary markings from its map. My erstwhile sitter was still hovering excitedly over the marble. He had nothing whatever to say about morbidezza.

“Look here,” he exclaimed, turning upon me with a gesture of real dignity, “you probably don’t see, or imagine you see, any resemblance between this great paw of mine and that lovely lady’s hand! No, I wouldn’t expect you to!”

Now I had often observed that the Senator’s hand was still handsome and energetic. An unusual hand, I had thought, for a politician. It was uninvaded either by chalky deposit on the knuckles, or fatty increment on the fingers, or even by swollen veins on the back. Hence I was glad to admit the likeness he saw; and weighing my words, while I laid in a good strong dark under a resounding lock of hair he had just tossed up from his forehead, I congratulated him on his artistic discernment. He shook off the compliment with a growl, though I know he liked it.

“But what I want to know is,” he went on, “how the deuce did you happen to make this lovely thing? Is it for sale? What price, f.o.b., young feller, what price?”

Gigi leaked out from his burlap. I could feel his eyes imploring me, for Mario’s sake, to play my part as a man!

The Senator noted my hesitation. “Isn’t it for sale?”

“Upon my word,” I replied, intent on fixing the Bullwinkle nostril for posterity, “I hardly know whether it’s for sale or not.” For the moment I didn’t care, a happy issue out of the Bullwinkle bust being from every point of view more important to me, just then, than all the marble hands from here to Genoa.

“With the good help of Gigi here, I made the thing for a lady, who doesn’t seem to want it, now it’s done. She’s been to Europe since she ordered it, and she’s gotten herself educated, so she thinks, to higher forms of art.” Perhaps I spoke a trifle bitterly.

“What’s her fool name?” The Senator was still enkindled. I was surprised to see with what tenderness he was passing his fingers over the surface of that marble;—and he shouting the while as if we were all at a caucus!

“Her name?” I hesitated, even then desiring to protect the name of beauty, and to pardon the grotesque shabbiness of that girl’s act in taking me at my word. “Let’s see. Oh, it was a Miss Chittenden, as I remember it. Just a chit from Missouri.”

“Chittenden,” returned the Senator, with a puzzled air, “Chittenden?” Then a great light broke upon him. “Chittenden nothing! It’s Clarenden, that’s what it is. And if she told you anything else, she’s sailing under false pretences. Just like her, too!”

“No, indeed,” I interposed, warmly, “I’m sure she wouldn’t do that—there must be something she’d draw the line at. Come to think of it, Clarenden was the name she gave.”

“A long young dame,” pursued Bullwinkle, “blue eyes, you know, and a way with her? Mariellen Clarenden?”

I nodded. The Senator leaped in triumph. He turned upon me with the friendliest smile in the world. “What were you charging her?”

“Four hundred dollars. And I don’t sell it for a cent less to anybody.”

“Give you five hundred! Done!” The Senator snatched a checkbook and a fountain pen from the region of that waistcoat button we had lately wrangled over. I had no idea his motions could be so swift and so majestic. Perhaps I might have stayed his hand, in some effete idea of ethics, or professional etiquette; but Gigi’s inexorable eye was on me, dangling Mario before my hesitating soul. I compromised by taking the check, with vague thankfulness, and laying it on the table. I told myself I would think it over. It might be that five hundred dollars was not too much for a master-work, preferred above all Westminster Abbey.

“You wonder at me,” the Senator went on, with a guffaw that was like a sob. “Well, then, sit up and wonder all you like. Sometimes I wonder at myself. This hand—” he stroked the marble with the same sort of reverence the girl had shown about that plaster cast. “Oh, hang it, boy, we’re all human, even if you are studio-bred-and-broke, God help you, and I’m from Missouri! Listen, kid. I had a sister, a twin sister. A smart Aleck like you would probably say it sounds like opera-buff, or a dime novel, but it’s just plain fact, right out of my own life. And I was fonder of that girl than of any other human being that ever lived. This necktie you’ve been fussing over because it’s too tight and hard, you said;—well, it’s black, for her. And black is tight and hard, sometimes. Ah, well!” The Senator resolutely put away sadness, and again stretched out his own fine capable hand.

“My sister had the prettiest little hand in the county. County! Her hand was known all over the State, and many a young newspaper feller touched it—on paper—in the old days. Foot, too!” He meditated a moment on his own very good-looking shoes. “After she married Clarenden, the big railroad man, we saw less of each other, of course, but we were chums to the last. And the instant my eye lit on this lovely work, this masterpiece, though I say it that shouldn’t, I knew there was something in it for me! I didn’t quite know what, of course, until I found out that Mariellen was mixed up in it, and then ’twas clear as day. Had you copy a plaster cast, didn’t she?” He chuckled with pleasure in his perspicacity. “We Senators know all about plaster casts and death-masks and that sort of thing. Unless we want to miss a trick, we have ’em done to us, as soon as the time comes. But what I don’t understand is why Mariellen got cold feet! She’s a girl of some sense, I tell you, or was, until she got a hankering for New York, and what she calls the higher things in art!”

The Senator’s last words mimicked to perfection both the girl and myself. It was that kind of mimicry which creates good understanding, and leaves a smile, not a sting. Oh, I could see how he, like the girl, captivated mankind!

“Even now,” he continued, “she’s my favorite of the whole bunch, and they’ve all of ’em got plenty of the Bullwinkle pep. Some face, that girl, hey? Pretty ain’t the word!”

No, it wasn’t the word. But I couldn’t give any one word that would really cover the case, I admitted.

“Mariellen gets the better of everybody. She even puts it over on a smart artist like you. I’d like to take her across my knee! And before I’ve finished with her, I shall make her feel like thirty cents about this job. Gave the marble heart to my marble hand, did she? She’ll be wishing she kept it, the moment she sees I’ve got it. But mark my words, it’ll never be hers, until after I’ve taken the Big Subway for good and for all. And if she tries to bamboozle me out of what I’ve bought and paid for, I’ll—”

A peal of the bell and voices in the anteroom caused the speaker to suspend sentence, and I slipped out to find, in eager converse with Gigi, the young person from Missouri. Was the sky raining coincidences, that day? With a gesture absurdly like her uncle’s, she was drawing from that much-embroidered handbag of hers a checkbook not unlike his own in general effect. Had Shakespeare been there, he would have indited a sonnet to the checkbook of beauty, and its likeness to that of brains and power.

“Of course,” said the young lady, giving me at once her charming smile and her signed check, “I knew that you knew, from what I said when I went away from here this morning, that I meant to come back just as soon as I could, to deliver the goods, and to get the goods.” What I had seen of her uncle helped me to recognize a genuine emotion hiding behind the flippancy of her words. I freely confess that if my wife or my sister had said or done just what Miss Clarenden did, I would have found it preposterous, alarming, in bad taste. But that girl had some strange power to make one see at once that what she did was simple and natural; the best thing in the circumstances, and therefore not foolish or ill-bred.

“I know you’ll understand, the moment I explain: I’ve always said to myself that the man who carved that Dancer would understand a lot. Well, when I came here this morning, I simply couldn’t shake Jack. He stuck to my skirts like a burr. You know we’re to be married in the autumn.” The pink roses in her cheeks flamed into American Beauties for an instant, and then became themselves again, in a way that I’ve often wished might be managed on the stage.

“Jack has nothing in the world but what he earns. To be sure, he earns a lot, being—no, no, not a plumber, but a very, very civil engineer.” Her time-worn jests seemed dewy-fresh as they fell from her lips. Witty as well as beautiful, I thought. Oh, I admit my weakness!

Miss Clarenden continued her explanation. “Very likely, though, we shall have to economize, at first. And I didn’t want Jack to see me spend four hundred dollars right off bang, the very day after we landed, even for something I long for as I do for that marble hand; real art, too. You see, Jack got awfully gloomy over that last dozen pairs of gloves I got at the Bon Marché, the day before we sailed. Said he feared that at first he couldn’t give me all I’d been accustomed to, and so on. And, honestly, I was afraid that he’d be doing a bit of mental arithmetic right here in your studio, and doing it wrong! Saying to himself that if twenty-four kid gloves cost a hundred francs, why should one marble hand cost so many hundred dollars, or something like that!” I saw that the tears were very near those laughing eyes of hers, but she went bravely on. “Jack doesn’t know much about art yet, but I’m going to explain it all to him, the morbidezza and everything. And I’m just crazy to see what you’ve done for me.”

Her voice with its smiles and tears floated in to Senator Bullwinkle as I led her toward the work of her hope. The marble was fairly heavy, but the Senator was more than fairly strong, and in my absence, he had gathered it up between his hands, and had sat down to muse upon it. In fact, it lay across his knees, just where he had said he would like to take Mariellen. I don’t know how, but he presently succeeded in making a place for both. I think Mariellen helped him.

Of course it was the Senator who kept the masterpiece, the buccaneer in him prizing it all the more when he learned from a grateful Gigi the origin of the raw material. He tells me he doesn’t care a whoop whether the work elevates American art or not; it elevates him. Mariellen admits it’s better so, since the lad Mario is the gainer by the one hundred dollars with which the Senator had built up the price. To clinch the matter, she wanted, for Mario’s sake, to add her own check to her uncle’s, her very first glance at that boy’s amazing sculpture in various lowly substances having convinced her of the wisdom of such a step. But I prevailed upon her to wait a year, at least; and that part does not come into this tale, at all.

“Ah, well, there are more ways than one to elevate art, or anything else. It’s up to Mario, now,” blithely remarked the young lady in blue.

“C’EST UNE TAUPE”

I feel sure that everybody, at least everybody who is anybody, really knows, in the bottom of his heart, just what a taupe is. But in case there should be any person with such weighty world affairs on his mind that he could not possibly move them around to discover hidden among them an insignificant matter like a taupe, I will say that a taupe is a small furry thing that burrows in the ground. By no means an unfashionable creature, I assure you! Its color is always modish. Its skins, when collected by hundreds and thousands, go to make up what I am informed are “among the most authoritative fur garments of the coming season.” In short, a taupe is a mole, all told.

Also, I am reasonably certain that most of us, if we should stop to consider the subject, would understand perfectly the nature of a limace. A slimy, limy limace! Its very name tells its story. It is not exactly one of the “slithy toves” of the old song, but they may all have had similar ancestors. And if you have guessed that a limace is a slug, poor thing,—a big slug, no more and no less,—you are entirely right. So there you have the two characters, the mole, the slug; the furry, fashionable taupe, the slippery yet sticky limace.

In the Bois de Meudon, on the most beautiful summer morning in the world, a limace was lying curled up like a thick brown half-moon on a bright green leaf. In its sluggish way, it was coquetting with the sunbeams. The limace was in love with life, and at peace with all the earth. So were the little Parisians who had come out from the city to make holiday. At first there were not many of them; only M. Petitpot, the kind, red-eyed mason of the rue Delambre; Mme. Petitpot with the baby, in his straw hat built like a life-preserver; the good grandmother, not ashamed of her white cap; and the boy Pierre Petitpot, in his newest black apron. There were also the two doubly-opening baskets for the luncheon. M. Petitpot himself carried the basket that had the bread and the salad, with the two bottles of red wine slanted in, one at each end. But the grandmother kept fast hold of the smaller basket, because that one contained a truly magnificent roasted chicken, wrapped in a napkin. What an aroma, my friends! A déjeuner sur l’herbe was contemplated. Messrs. Manet and Monet are not the only artists of the déjeuner sur l’herbe.

Presently other Parisians came, from various quarters of the city, and from various businesses. All were seeking a little Sunday happiness in the open. They were not really familiar with the secrets of the wood, as you shall see. But they had curiosity and discernment, and these two, keeping together, will go far toward finding knowledge. Unlike English people, these French persons chatted with each other, without mistrust. Also, they revealed the beauties of nature to each other. How dazzling and glorious were the clouds that day! The grocer’s lady pointed out to Mme. Petitpot that the good God must surely possess a giant egg-whip, to be able to produce a méringue as colossal and light as those masses of cloud over there! And Mme. Petitpot had replied that eggs were better and cheaper, now that it was June, but that her own egg-beater had a kink in it, so that she was about to buy another.

Black-aproned Pierre was a pale bright-eyed child with a bulging forehead, and hands that looked as if they wanted to play the piano or something. Easy to see that he was predestined for the paths of learning. Per aspera ad astra; the latter for Pierre, the former for his parents. Even for this one holiday, they had not been able to separate him from his new “Petit Atlas du Monde”; he hugged it so tightly that the crimson cover had already stained his hands, freshly washed that very morning. His delighted glance skipped like a bird from tree to bush. He nodded his head in smiling ecstasy when the grocer’s lady expressed that airy fantasy of hers as to the clouds.

But it was one of the later comers, a pink-sashed little girl from the Montrouge quarter, who first saw the limace, and shouted aloud in joyous fright. “What a droll of a beast! I beg of thee, Mamma, regard me that!”

All the world pressed forward to inspect the limace. There were some who even had the hardihood to touch the creature with little sticks. “Hold, hold, my infant! Faut pas la toucher! Perhaps it is a poisonous one, hein? Demand of thy papa whether it is envenomed.”

By now, quite a little crowd had gathered. One would say, amateurs in limaçonnerie! Papa, not knowing in the least whether it was envenomed or otherwise, preferred not to make any statement before the other Parisians, who, if the truth were discovered, were no better informed than he himself as to the nature of the thing there. Strange as it may seem, those Parisians were really less wise about the limace than you and I are, to-day! For not one of them really knew that all of them were looking at a limace. But they one and all wanted to talk about it, solo, fugue, and chorus; and they did not know how best to mention it. Now it is absurd to keep on calling a thing la chose. So at last some one asked aloud, as all had been asking within, “What is it that that is, that that?”

Ah, if only M. J. Henri Fabre had been there, M. Fabre, the “insects’ Homer”! But M. Fabre was far away, and no one answered for him. There was a pause. Parisians hate a pause. The day had begun so joyous, and there they all were, pausing. Insupportable! A pretty lady with a primrose-colored parasol said that if it were a serpent, now, she would be able to tell you. She felt herself something of a connoisseur in serpents; there had been a serpent at the last pique-nique she had attended. The gentleman on whose arm she was leaning said, with emotion, “Ah, I can well believe that, Mademoiselle!” Then everybody laughed a merry “Hé, hé!” But all this graceful badinage brought them no nearer to knowledge. Hence those who really thirsted for knowledge were glad when the white-capped grandmother Petitpot, with proud beady eyes, pushed forward pale little Pierre with his bulging forehead. In fine, our Pierre, a child well instructed, could inform those ladies.

Appalling yet entrancing moment for black-aproned Pierre! He clasped his thin little Atlas of the World against his stomach, and silently prayed for knowledge to descend upon him from on high. Then he looked earnestly down on the limace, to put himself en rapport with the creature in her underworld life.

A touch of rose pink bloomed a moment on his sallow cheek. “I think,” he said, in his eager fluty voice of a born “teacher’s favorite,” “I think, yes, I believe well!—c’est une taupe.” The very utterance of his faith created in him a faith more abundant. He nodded his head sagely, even boldly. “Ah, oui, Madame, sans doute, c’est une taupe.”

Swiftly the words of the young scholar penetrated all the little groups of Parisians. Une taupe! Lady and gentleman, girl and boy, mason and grocer, one after the other took up that goodly revelation. “C’est une taupe!” Some repeated it a little sadly, as if it were a mistake, or at least an indelicacy, on the part of the taupe not to have been something else. Others repeated it with exquisite gayety, as if a taupe were the one object of joy the world had waited for, until then. Still others repeated it without passion and without surprise, as if a taupe were no more than should have been expected at such a time. But in one way or another, they all repeated it. C’est une taupe. Even those who had never had so much as a cornerwise glance at the limace went their ways, saying, with a fine discriminating wave of the hand, “une taupe.” Indeed, not having seen the limace, they were naturally far more confident than those who had really gone quite near to that brown half-moon on the green leaf, and touched it with twigs. The distribution of knowledge is a moving spectacle, is it not?

My friend who was beside me in that lovely wood, with the blue sky above the waving branches, and with the flower-like children springing up from the grass, and the autumn-leaf grandmothers walking abroad with baskets for the déjeuner, suddenly asked me why I was laughing like that, and the tears running down my cheeks.

“You do not know why!” I answered. “Oh, surely if you know anything at all, you must know! It is because I can see, at this moment, this same spectacle shaping itself everywhere on our planet; yes, from the Arctic to the Antarctic, on Capricornus and on Cancer, and even in the Equatorial belt where the lazy peoples live. Everywhere, everywhere on this round globe of ours, there is a poor limace among the green leaves, and no one knows what she is; but everywhere there is a good old grandmother, pushing forward a pale little Pierre with a bay-window brow, to tell the world, ‘C’est une taupe.’ And the world listens, and repeats, and so becomes wise.”

My friend, a sadly literal person, objected. It couldn’t be like that, among the Esquimaux, in their igloos. And I had all I could do to prove that among the Esquimaux, in their igloos, it was not only just like that, but more so. On the return boat for Paris, we were still arguing the question. The beady-eyed little grandmother had already helped to remove the life-preserving hat from the Petitpot baby. She continued to guard her basket, which now held only an aroma, and, please God, the carcasse for the morrow’s soup. Black-aproned Pierre, with an unrelenting grip upon his Atlas of the World, laid his sleepy, knowledge-burdened head against her shoulder. Mme. Petitpot whispered over that head into the grandmother’s ear, and the grandmother nodded and smiled. The two were agreed that it was truly a miracle; in all that fine company, the boy was the only one who knew. Surely there was a future for this child, already so well instructed! And with what agreeable courtesy he had said it, “Madame, c’est une taupe!”

The women smiled, yet there was something sad and lofty in their smiling. For they knew that they were guarding between them a very precious vessel, and they prayed for strength equal to the honored task. The evening breeze freshened sweetly; and in case that fabled Gallic monster, a courant d’air, might come stalking through the boat, the grandmother spread a fold of her voluminous black skirt over Pierre’s bare knees.

THEIR APPOINTED ROUNDS

I

They were destined to dislike each other on sight, those two whose appointed rounds, unexpectedly interlacing, had brought them together under the ancient pines keeping watch over the grave of a Revolutionary soldier. The man disliked the boy, because he himself had at that moment a loathing and a horror of himself and his probable fate, and the lad’s pliant figure vividly recalled to him what his own had been, in days long past. The boy’s reason for disliking the man was far more obscure, but no less potent.

That little pine-clad hill with the graves was pleasantly sheltered by hills higher than itself. The pines were very tall and shapely. They soared skyward like clustering brown masts, decked out at their far tops with tossing banners of holiday green. The summer sunlight paid long visits at their feet. If you should lay down your head under those trees, and then lift your eyes, you would be startled to discover the unbelievable purple pomp of those woven branches, and the intense blueness beyond. The shadows on the ground were more golden there than elsewhere, the sunbeams more serious-minded. They had all played together there for so many years, seeing the same sights and thinking the same thoughts, that they had at last come to look somewhat like each other. L’Allegro and Il Penseroso had mingled their identities. A scarlet tanager flared down from a far purple bough, to sing the peace that brooded over the place. Both the man and the boy had their reasons for seeking peace. Though unknown to each other, they knew that peace might be found under those pines, but they had no mind for sharing it with each other.

II

The boy Royal had a poem of his own make in his pocket, and being on his travels, he had climbed up from the east to rest himself, and to re-read his verses yet again in solitude. Perhaps he was about to add to them some touch of immortality, some wistful trace of that philosophy which may not revisit the mind of man after his seventeenth year, but day by day loses itself more deeply in the underbrush of uncharted, enchanted woodways. The poem was about a maiden called Amaryllis. In the prose of private life, Royal’s Amaryllis was a wholly good and pretty girl a little older than himself. Her name was Mary, but even at nineteen she was still signing herself Maimée. However, what is poetry for, unless to quicken and rechristen all worlds into strangeness and beauty? Let Royal keep his Amaryllis a while longer, I beg!

Is there any good and comfortable thing that the heart of youth will not flee from, in its longing for the untrodden way? The boy Royal was a fugitive from the eggs-and-bacon type of breakfast. He was in search of some ambrosial, sit-by-the-brookside food more precious and sustaining to his spirit, so he dreamed, than any of the comestibles, fine or gross, involving his parents in worrisome monthly bills at the grocer’s. For him, life and letters were mingled mysteriously in the same sparkling cup, and he wanted to drink of that cup freely. One can do such things better away from home. He had therefore wrung from his mother, his father being absent in the city, working for the wherewithal, her unwilling consent to a solitary three days’ walking tour, his entire luggage to consist of a flashlight, the Iliad, and a toothbrush. Oh, of course, a full tin of provender slung across the back of his Norfolk jacket! You will doubtless understand what his twin brother Peter meant when he said that the difference between Royal’s travels and R. L. S.’s was all in one word; a preposition, don’t they call it? Stevenson’s Travels were With a Donkey, Royal’s were Of a Donkey. Peter was sore because he had not been invited to be a donkey too.

The twins loved one another dearly, but now that adolescence was upon them, they often wounded one another sorely. Each boy, recognizing certain superiorities in the other, felt all the more bound to rescue and protect and assert his own individuality. Who knows what dire harm to ourselves may issue from our brother’s excellences? And Royal, even more than Peter, longed for a more emphatic identity of his own—something so distinct and compelling that the world would forever cease contrasting and comparing him with another.

Their father was a painter, their mother a writer. Peter took to colors, Royal to ink. But Peter, luckily for the world, was no such born-in-the-blood Romantic as poor Royal then was, and might forever be, unless something could be done about it! That boy’s parents had showered upon him all the benefits of education, dentistry, operations for adenoids. They had even had him psycho-analyzed, since Uncle Tom’s business in life was exactly that. My uncle the psychiatrist; the boys often stuck the phrase into their cheeks, for the benefit of their mates. The work on Royal had been done with the utmost secrecy, of course. Uncle Tom had made a mental diagram of Royal’s case, as carefully as for a paying patient. In seven closely typewritten pages, bristling with words like prognosis, adolescence, stimuli, adaptability, environment, Royal’s young soul-history may still be found among Uncle Tom’s files. And Uncle Tom would be the first to tell you that for the unlearned, those seven pages might be summed up in seven words: a poet is growing, let him alone. Royal’s parents were cheered by that report. They had always rejoiced in the harmonious understanding that existed between the uncle and nephew. There was a strong family likeness between the two; they turned their heads to the same side when arguing, and waved a good-bye in the same manner. Often Royal at his most poetical made observations that staggered Uncle Tom at his most psychological. Uncle Tom sometimes found it ludicrous when, simply because “maxima debetur puero reverentia,” he had refrained from saying something, and then found that Royal, with immense earnestness, was saying it himself.

Royal was a lean, rangy, bright-haired lad, with a clear skin and a good carriage. He had nobly-set blue eyes whose depths seemed practically bottomless, the young eyes that suggest both heaven and hell. He had also a determined chin that often pushed him into positions in which his undetermined nose was of no use whatever. Oh, quite the ordinary type of boy whose unusualness is chiefly within! Perhaps the most striking thing about him, thus far, was his passion for beauty; beauty to be seen, heard, tasted, clasped, protected, prayed to. There was Scotch blood in him; he had plenty of second sight, but was often found lacking in that vulgar variety of first sight known as common sense.

In planning his travels, he had seen himself, now as a sailor in tarry trousers, jingling strange coins in foreign ports that reeked with incredible oaths and aromas; now as a gifted young scholar, teaching French to some sturdy blacksmith’s fair daughters, in exchange for a noggin of milk and a brace of doughnuts, since you can’t expect cakes and ale in this country; and now as a prince-in-disguise mechanic out of work, in smutched overalls, with nothing clean at all about him but his teeth; his toothbrush would tell the world. Royal recognized the weakness of his own fables. He knew well enough that, unlike practical Peter he himself could scarcely tell a bolt from a bit-stock, or a belaying-pin from a bo’s’n’s whistle; and also (here Peter would be no better off) that he would certainly be unable to explain away the French subjunctive, in case the prettier of the blacksmith’s daughters should show an unfortunate curiosity about a topic so repugnant. Yes, Royal was a stern critic of his own castles, and therefore spent much time in rebuilding them.

Royal on his travels soon found that three days were all too brief a term for such adventures as he sought. His mother and he had been reading the “Crock of Gold” together, and he knew that she would understand him when he wrote, on the second day of his faring:

“Dear Mother, I am with the leprecauns, and so shall not return as early as we said. Fear not, all is well with me. The world is wide, the weather fine, and the extra $3.75 you gave me is hardly touched as yet. Besides, I can earn what I need, if I need more than I have. I love the feel of this life in the open, and you know how much I want to spin the wheel of life, in my own philosopher fashion.”

Thus wrote Royal, giving neither date nor address, and incontinently planning to reach far cities by means of gondola cars. His mother was hurt, irritated, and anxious, in equal parts; but she understood her boy well enough to know that there was some fabric to his fustian. Uncle Tom jeered openly, saying that people who breakfast with the leprecauns may have to sup with the lepers, if they don’t watch out. These psychiatrists have a way of taking the worm’s-eye view of high doings.

III

Within a week, the Royal progress had swept through parts of three of our United States, without serious damage either to the lad or to the landscape. The curve of operations was now fast shaping itself into a circle. Day and night, the weather had been magically lovely. Royal had gladly passed the first three nights à la belle étoile; with keen relish, he rolled the phrase under his tongue, thinking that now not a boy in Froggy Beaurivage’s French Literature classes understood its charm as well as he. His Norfolk coat, a bore by day, proved a godsend in the chill hours before dawn, and he knew the use of a Sunday paper as a mattress. Before falling asleep, he would gaze with delight into the skies; thrilled with their beauty and immensity, he would say to himself, “After this, I am changed forever; I shall always be something more than I was before I came here.” No doubt he was right.

And his days were no less wondrous, for their sun, and shade, and good going. Sometimes, when he was beginning to feel dusty or weary, an unexpected pool would signal to him from beside a shaded road; and when he came up from it, he was a new-made creature. He liked being solitary, yet he liked stopping at sudden inns for frugal meals, and he liked chatting with the wayfarers he met. The latter half of the week had moments less idyllic. His fourth night he spent in a box car, his fifth in a boarding-house for Polish immigrants, and his sixth, in part at least, in the jail-room of a village town-hall, where he had been held in custody on a false charge of having stolen an automobile.

His code was very explicit as to stealing. He made a point of stealing and begging nothing but rides of various sorts. He had begged and received rides in hay-carts, touring-cars, lumber-trucks: he had also managed to get without cost considerable railroad transportation. It sounds crooked, to me! But of course each type of ride has its good and bad points. He took whatever fruit he saw lying on the ground, on the public side of fences; it was astonishing what excellent pickings were to be had in this way; he felt that an essay on economics might be written on this subject. But he never entered an orchard, never even shook a wayside tree. His head was full of these delicate distinctions. From Kipling he had imbibed the idea that the white man’s burden can best be sustained in dark lands by the unfailing practice of wearing a dinner jacket in the evening, no matter how solitary the meal. Noblesse oblige! And it keeps you from sinking. The idea had appealed to Royal, and he had invented a variant of it to use in his travels. He would at all times deal with the fruits of the earth exactly as if the owner of them were watching him. No unheroic task! If he should fall once, he told himself, it would be all the easier to fall again, and yet again; and then where are you? As a matter of exact record, he did not fall once; and I see no reason why this may not be set down to his credit. It is of course regrettable that a principle which worked so well for agriculture could not have been applied to transportation also.

Thus, by being partly prig, partly poet, partly his own stage-manager, and altogether boy, Royal was taking steps toward being a man. There was absolute truth in his protestations before the one-armed justice of the peace (apparently the universal functionary of the village) that he knew nothing of the stolen car, nothing whatever, from fender to tail-light. Unluckily, on being asked his father’s name and address, he gave a wholly fantastic reply, his brain being stuffed to capacity with material for such purposes. I believe that he had a laudable idea of protecting the family by “putting one over” on the village Dogberry. But by a lamentable oversight, disclosed to the one-armed man on consulting directories and maps, the county of Chesterfolk, in the adjoining State, acknowledged no township called Four Bridges; and even had there been such a place, it still remains doubtful whether Royal’s putative father, Algernon M. Hollingsworth, that splendid creature born of necessity’s invention, would ever have been content to live there. Other questions were put; Royal’s Whither was found to be fully as obscure as his Whence. He was therefore clapped as a “suspicious vagrant” into the jail-room, a high and narrow cubicle left over from the previous century, and unused for years except for the occasional storing of the movie-man’s impedimenta on wet evenings.

In lieu of a left hand, the one-armed justice of the peace had a steel hook, which he managed with an address that Royal could but admire. He carefully examined our poet’s possessions; his purse, food, poems, matches, wristwatch, toothbrush, Iliad, flashlight. The purse, poems, and food he regarded as negligible. The Iliad received from him both respect and scorn; respect because it was print, scorn because it was print he couldn’t read.

“Your Koran, ain’t it?” He asked the question with the irony he thought due to those who gave false addresses. Royal trembled when hand and hook turned those Homeric pages. His father’s bookplate might give the whole show away. But fortunately that telltale emblem escaped the hook-and-eye of justice. And the man’s idea of calling the book a Koran had in it something that appealed strongly to the inventor’s own imagination; he played upon the theme with alliterative variations.

“Kid carries Koran,” he ejaculated while pulling out a rickety settee for the repose of the accused. Hooking up Royal’s flashlight, he discovered a tattered blanket belonging to the movie-man, and this he threw over the settee, still improvising. “Koran concealed on Courteous Kid.” Perhaps that fancy of his softened his fibre. He had pocketed Royal’s matches, and was about to confiscate his flashlight also, when a humane thought occurred to him. For our humor may at times produce humanity in ourselves, if not in those whom we expose to it.

“Well, kid, I guess I’ll leave you your light to read your Koran by. Sorry we can’t give you a prayer-rug too, but our finest Orientals are in storage, this season.” (He’d show the young fella ’t givin’ false addresses was a game two could play at!) Royal was relieved when at last the justice really locked the door, and departed. Something to tell old Peter, this.

He wondered what Peter, the practical genius, would do in that ill-smelling hole. Peter, he concluded, would explore things. Royal’s flashlight revealed two flimsy packing-cases; the movie-man was his Providence, that night. He waited until midnight, by his watch. He then set one box on the other, and by cautious climbing, managed to reach the tiny barred window, high in the wall. The bars were ancient in their shallow sockets; Royal was lean, even leaner than usual; in a twinkling he had leaped down crashing into some mournful sumac trees, and after that, escape was easy, along the adjoining church and churchyard. Surely the leprecauns were on his side! All of a sudden he realized that his act of self-preservation from so-called justice was one of the most practical bits of work he had ever performed in his life. He had a momentary gleam of shame for his impractical, un-Peter-like past, and even gave a thought to his father, in his hot city studio, working for the wherewithal. But that mood soon passed. The ecstasy of escape from the troubles he had brought on himself gave him wings. Until nearly dawn, he swept straight ahead, under a favoring moon. He was composing a Sonnet to Some Sumacs.

“A prisoner pent, I flew to your fond arms,

And maybe broke a few of them, my dears”;—

A wonderful beginning! It would require some fine work with charms, harms, alarms; with fears, cheers, reveres. But Royal was perfectly happy; and no one can say that his inspiration was not authentic.

Not twenty miles from his own home with its bacon-and-eggs breakfasts, he saw a belated or else be-earlied furniture-van approaching from a wooded road that met the highway. Its driver, so Royal judged as a bearded face emerged out of the morning mist, was one of those how-could-I-help-it persons who are always a little late or a little early, a type toward which he felt drawn. He waited there, at the heart of the crossroads. The man hailed him, and Royal, in his character-part of young man out of work, accepted the proffered lift, and ate heartily of the rude liberal bread and cheese that tasted of the leather seat. They chatted at ease of brakes, tires, clutches, and children, as they rode quietly into the morning. Royal contributed most of the listening; he was quite as much at home among elderly workers for a living as with frivolous persons of his own age.

When they reached Falmouth Junction, a railway centre of note, their ways diverged. At the station, Royal bought coffee, sandwiches, and fruit, all of which he shared with the man; and the man gave him two black cigars at parting. Royal liked that furniture-fellow. He considered that when compared with the one-armed miscarrier of justice, the man had the makings of an excellent leprecaun in him; his beard sticking out of the mist was just like a leprecaun’s. But although the man, in his dreamy behindhand (or else beforehand) way, had confided much to Royal, with a wealth of detail as to his youngest child, “cutest kid of the bunch, and a reg’lar Dannle Webster with his spellin’-book,” our traveller did not in return open his heart about his escape from the jail-room. For a long time after that incident, Royal was inclined to suspect both justice and peace in quarters where they were least intended. Falmouth town boasts a traffic policeman; Royal, on spying those bright buttons, took swiftly to the road again.

And now, on the last stretch of his wander-week, he bethought himself of the soldier grave on that little hill, scarcely an hour’s walk from the very end of his appointed round. He loved the place; he felt drowsy, in spite of the railway coffee and the fresh morning air, and he wanted to lie down and sleep for a pleasant hour under those pines, his head pillowed on heroic ashes. He phrased it thus to himself, although he knew that he would probably find a better resting-place on the warm ground somewhat removed from the grave. After a good little snatch of sleep, there would be time for a few last touches on the Amaryllis poem, and then, home. The Sumac Sonnet could wait. After all, a beefsteak luncheon has its merits.

Royal was more tired than he knew. His pleasant hour of sleep multiplied itself by two, by three, by four. He woke with a start to find that the day was no longer young. He would have to step lively if he hoped to reach home by tea-time; scones, fresh from the oven! But he had just had a very marvellous dream, and surely, before the glamour of it should vanish, he owed it to the world to put some breath of it into his poem.

Enthralled by his verses, the poet resented the approach of that other traveller, just puffing up over the western slope of the little hill. The man was forty-five or fifty or even sixty, the boy guessed; oh, ever so old! He was soiled, obese, crumpled, out of breath; he needed a shave. Limp gray hairs straggled behind his plaided cap. His profile was fattened, yet highly predacious. But his tweeds seemed rather better in quality than Royal’s, his shoes no worse. Royal’s bookish theory that you can always tell at a glance whether a man is a gentleman or not fell to pieces under that fugitive’s weary, wary eye. Certainly no poet, our sumac sonneteer decided. Villon never looked quite like that, nor Poe, nor Vachel Lindsay.

IV

Yet any wise observer of our poor dust would have known at once, on seeing the two travellers together, that the hand of art had been laid inevitably on each; lightly and graciously enough on the youth, rudely and ironically and with stripes and lashes on the man. Phœbus Apollo hardly knew, as yet, whether he should ever really need the boy Royal or not. However, he meant to lend the child his lute for a summer morning or two, and hear whatever trailing wisps of song those smooth young fingers could coax goldenly from its strings. Yes, Royal was a true probationer of Apollo. But with the man, the god would plainly have no more to do, except by way of bitter punishment. For the man was too old, too ill, too evil, even, to be of any further service in the temple of the Muses. Those ladies do not carry a pardoner’s wallet. They have no pension system; uncompromising dames, the Nine, when all is told.

Little as he liked the looks of the man in his tumbled tweeds, Royal nevertheless gave him a good-day. Why not? The man enveloped the boy with a strange, hunted-yet-hunting glance, and after returning the salutation in a mannerly enough way, threw himself down heavily on the pleasant pine leaves, rather close to the spot that Royal had chosen for his own perfect seclusion with song. Our poet’s second sight instantly declared that there was something wrong. What if this were the wretch who had really stolen the car whose loss had threatened the Royal liberties? Well, if so, that was the one-armed justice’s affair, not Royal’s. The boy had lately read in a newspaper that our Anglo-Saxon law presupposes the innocence of the accused, until proven guilty. An excellent idea! Fair play for all, then, including the disinherited.

Still, it was but natural that he should try to put a self-protecting distance between himself and the other, tramps though they both were. So he hid his ode in his pocket, and pulled out his Iliad, that epic which before now had laid heavy conditions upon him, and was likely to do so in the future. Impressive gesture! Royal had several times used it to advantage during his travels. Pulling out your Iliad, no matter how amiably, is a way of drawing the line. This particular Iliad had, it is true, been something of a disappointment to him, at the start. He had meant to carry his school copy, a pocket edition that contained only one book of the poem, with English notes so copious as to constitute a “pony.” In the confusion of a brother’s departure, mischievous Peter had contrived to dislodge Royal’s own Iliad from its place in Royal’s pocket, and to substitute for it an Iliad from his father’s library. The parental Iliad, though like the other in size and shape, was a poor thing. It had all the books of the poem, to be sure, but in solid Greek; not a word of English from cover to cover. Some German had printed it that way. Annoying! But after his first dismay was over, Royal had managed very well with the volume; to-day, he drew it out as readily as if it had the English notes.

With this man, however, the trick was wasted. When the boy laid his Iliad down casually beside him, the man picked it up, no less casually. Homer had no terrors for him, it would seem. With a hand whose trembling he could not quite conceal, he turned over the leaves to regain his lost breath. In a leisurely, yet largely gesticulating way, he adjusted his black-ribboned eyeglass, and contemplated both bookplate and title-page. He then made short work of Royal’s pretensions to classic learning, merely by turning to Book XXIII, virgin soil as yet untrod by any foot in Royal’s form. Book XXIII appeared to interest him. Suddenly he began to read out, in orotund English, the episode of the funeral pyre, with all its meaty details.

As a matter of fact, this was but a gesture of the traveller; a gesture fully as empty as Royal’s, a scrap of drama within a drama. The rascal was not translating. He was reciting from memory a fragment from Lord Derby’s translation. In palmier days, he had constantly used those twenty lines with telling effect, in his popular dramatic elocution classes. He had even incorporated them, with full directions as to tempo, emphasis, and climax, into his Dramatic Interludes No. 1, a book which, though not precisely a best seller, had often been bought along the borderline that separates the real stage folk from the stage-struck fringe of the shadowy general public. And now, for an audience of one, that “slow-pac’d ox,” those “jars of honey,” the “four powerful horses,” the “nine dogs,” were all presented with an unction that seemed incredible in a stout man so out of breath a moment before. The reciter licked his lips feverishly over his “slaughtered carcasses,” and yet was able to reserve some climacteric gusto for the closing lines,

“Last with the sword, by evil counsel swayed,

Twelve noble youths he slew, the sons of Troy.”

He appeared to find this an especially appetizing detail, and repeated the couplet, laying his hot fingers on Royal’s wrist.

The boy’s second sight had been caught napping during that recitation, but at the touch, sprang up, alert.

“Royal child,” she whispered, “quick, quick! Whatever are you about? Can’t you see that this wretched actor-man is far uncleaner and viler than anything you observed, with fearful curiosity, in the Polish boarding-house?”

And when Royal saw those fat fingers on his wrist, they looked to him like worms, and he wanted to be gone. But he wanted to be a man of the world, too, if a poet may; one who would needlessly insult no passer-by.

“Hot stuff, eh,” he remarked carelessly as he rose from the pine leaves. It seemed to him an appropriate thing to say about a funeral pyre found in the classics. The man had dropped the book; the boy swooped easily down, Discobolus-like, and swept it to safety within his pocket. “Well, I’m off! Date down below. Afraid I’m late, as it is.” His eyes were appalled by the ferocious hunger of the eyes they met; the hunger, the anger, the fatigue, the despair. Had he but known in his own young body and soul just what these things meant, and just how horribly they were gnawing that man’s vitals, he would have stayed, in common human kindness. But he could not know. Besides, his second sight had him cannily in her grip, and with all her might and main was pushing him straight home. Curiously enough, unaware as he was of “my uncle the psychiatrist’s” worm’s-eye prophecies, he said to himself, using Uncle Tom’s very words, “I started out with the leprecauns, and now perhaps I’m winding up with the lepers!” It gave him a pleased sense of his own individuality, that Fate had arranged it so. It was the sort of thing that didn’t happen to most boys, he thought. Without knowing why, he added to himself, “Just as well, perhaps.” Yet he felt sorry for the tweed-clad flesh down there at his feet. “Whatever’s the matter with the poor fish? Sure there’s something bothering his bean. The Ford, perhaps.”

Whatever it was, he knew he could not stop to set it right. But at any rate, he could offer a sandwich. The law of the road’s hospitality was in his heart. He opened his tin box, and with his inimitable rippling puppy-dog grace, emptied out its contents beside the stranger. The articles thus disclosed had by now attained a composite flavor through close contact within the sun-warmed tin. Royal suddenly knew this, and was sorry. There were the three thick railway sandwiches, the two black cigars, and several bars of chocolate he had bought the day before at the Charlemont five-and-ten, from a radiant, chiffon-clad girl whom he had secretly christened Lalage; for his next poem, of course, after the Amaryllis one was done, oh, quite, quite done. He kept for himself one bar of the chocolate. Its cover had the color of the girl’s warm dark eyes, and so would be a material witness, during his inspiration for the Lalage stanzas.

“Excuse me, but you seem to be a traveller, like myself. I’d be awfully glad if you can use these things.” From his jacket pocket he drew out two ripe peaches, oozing, and these he added to the store. “Cheero!” He loped down the hill, with long, uneasy strides, not really happy until he was far away. His thoughts were confused. “What a dreadful old beast! Actor, of course, probably screen. Face seemed familiar, too familiar. Some villain, what? Needed the car to make a getaway from something or other.”

All of a sudden the Homeric couplet mouthed by the man returned with terrific force to his mind.

“Last with the sword, by evil counsel swayed,

Twelve noble youths he slew, the sons of Troy.”

The poet stopped short in his tracks. “Golly-dieu! I see it all now. I’ve been talking with a murderer! And they always come back to revisit the scene, every one knows that. Of course, he didn’t do up as many as twelve. It was remorse made him nutty about the number. I wonder now—”

His wonder lit his eyes and freshened his steps until he reached the garden-gate, with the great apple tree over it, and the carved millstone below as a tread. Old Peter was probably just coming up from the pool. He himself needed a bath, frightfully! Then he saw his mother, in the white-and-purple iris dress he loved, walking toward the green tea-table under the pergola. Agnes with her tray would soon appear. For the present, Royal’s appointed rounds were over. An immense wave of tenderness suffused his whole being. Mother, bath, scones, sanctuary! Those first and last words he called aloud. Mother, sanctuary!

V

Left to himself, the elder traveller pounced on the peaches and devoured them, smearing their juice on his dry lips. He then tore the meat from the poor hearts of the sandwiches, and began to eat it greedily. It was his first meat in four days, and he was distinctly of the carnivorous order, and no mere nut-eater. The maid at the Canaan inn had looked suspiciously at him, four days ago, and from that moment, fear had palsied him. Not daring to buy gas under the pitiless publicity of the red pump, he had abandoned his stolen Ford. Like Royal, he was now on a solitary walking tour.

Since the incident at the inn, he had lived on package food, bought at obscure crossroads grocery stores. All his life, he had kept a fine contempt for package food, the various frugal tinned and cartoned things the bourgeois eat. He himself always wanted everything fresh from the vine, he used to say. Everything except the grape; that was different. Just at present, he was more thirsty than hungry. Royal’s black cigars were a poor substitute for a living drink.

“Blast the boy with his clean airs! ‘A traveller like myself!’ Little Lord Bountiful, to be sure!”

His face looked very old in the afternoon light. It was purplish red as to the forehead, and that whitishness around the mouth was not wholly to be explained by a four days’ stubble of graying beard. Even while he blasted the boy, he likened himself to him. “Just what I was at his age, a little Lord Bountiful! And, God, look at me now!”

If ever a man needed God’s look at that moment, it was this fugitive. Let it be understood clearly, however, he was not at all the murderer Royal’s imagination had conjured up. That boy’s second sight had been working overtime, and had fallen into error. Except in an indirect way, the man had never been a murderer. He had never desired the death of any human being. Yet he had undoubtedly turned the feet of at least “twelve noble youths” into the roads that lead to death. Also, he was revisiting a scene. Therefore we may as well admit that Royal’s imaginings had strange truths mingled with their errors. Perhaps his visions, like yours and mine, were made up wholly from truths, but truths mysteriously misplaced; truths disordered, and so, unserviceable.

The fugitive’s crime, that is to say, the particular crime for which he was at that moment being hunted from hill to hill, was one known to the most ancient civilizations. It takes its title from shameful lost cities engulfed under Divine wrath. Yet to-day there are gentle communities where even its Biblical name, if heard by chance in the pulpit fulminations of some itinerant preacher, would not be understood. And because, deep-rooted in the nature of mankind, there is that which cries out upon this crime as an abomination, the law defines it darkly, and punishes it strictly. “La nature a de ces bizarreries”? Only a long-descended Mediterranean intellect, with a planetary point of view, could calmly make that comment on the case!

The outlaw lit one of the black cigars, and thrust the thin bars of chocolate into his pocket. Loathsome package food, again, but better than nothing, if worse came to the worst. Of late, he had feared even to enter the crossroads grocery stores, with their meagre yet apparently varied supplies, with their horribly unexpected little electric bulbs illuminating a customer whose trembling hope had been to remain unseen!

Royal’s cigar sickened him, and he dropped it, still burning, into the brown pine needles. He watched the tiny, red-rimmed hole it was making. The circle grew larger and larger. Curse it, why not let this be the end-all here? But just as the slowly widening red rim really flickered into a faint blaze, the red on his forehead rushed fiercely over the rest of his face. No, by God, no! Not that way! With his woollen cap he stifled the flame. It died down utterly, and with it his own last remnant of vigor.

Stiffly, and with manifest suffering, he rose from the ground. Yet, in a very real sense, he had a far better right to a place under those pines than even the poet Royal himself could claim. In his fevered outlaw imagination, conjuring up terrors where none existed, and courting dangers unaware, that place to him was sanctuary. The one spot on earth! For his fathers had cleared those hills above, and ploughed the fields beneath. That soldier of the Revolution was his own ancestor. Their names given in baptism and granted by birth were the same, Jeremiah Burton. In the year eighteen-twenty, one Jeremiah Burton had departed this life, full of honors; and now, a century later, this other Jeremiah Burton was still living, and under an exceeding weight of dishonor. A fugitive from justice, he was seeking sanctuary among his own kin. And no person in that State knew him for the Burton that he was.

No less than the boy Royal, he had aspired to the arts. Writing, painting, dancing, acting, he had loved them, every one. Yet never to the extent of drudgery, or self-sacrifice, surely! Art for a good time’s sake was his motto. He had always joyously avowed himself a “‘carpe diem’ fellow, don’t you know.” Perhaps his Burton ancestors, in their passion for honest toil and meritorious self-immolation, had drawn too heavily on springs of energy, both physical and spiritual, that should have been reserved for their descendants. So young Jeremiah Burton wrote skits, painted landscapes, acted in vaudeville; seldom very well, never at great pains. Of all his various arenas for the exhibition of his personality, he had concluded that the stage offered the most glamorous possibilities. Still, Jeremiah is no name to be pasted gayly up on the billboards, is it? And even Burton itself has a melancholy look when printed. Very early in life, therefore, the Jeremiah Burton of the flushed forehead and fat predatory nose had Geraldized his Christian name, and given a twist, even more romantic, to his surname. It was as Gerald Bertello that he had hoped, when scarcely older than the boy Royal, to take the world by storm from behind the footlights. It was as Gerald Bertello that he had studied and strutted and caroused through the downward zigzag of his middle years. It was as Gerald Bertello that he was designated in the warrant for his arrest. But it was as Jeremiah Burton that he was making his last stand, there on the hill, among his kinsmen. Sanctuary!

The slate stone that marked the soldier’s grave still stood erect. One could read every word carved upon it. Its willow tree wept in a perennial freshness of stem and leaf. The cherub and skull and crossbones had not turned a hair. But the more pretentious marble slab placed over the warrior’s relict, Thanksgiving Burton, was altogether a weaker vessel; at least, its foundations were less sure. It had lately fallen down flat under the hilltop winds, and in falling, had laid low a part of the slender iron fence that enclosed the graves of those early Burtons; Burtons who had wrestled with that soil and conquered it, until the soil, in turn, conquered them.

The fugitive who had lately read to the boy Royal sonorous words of the twelve youths of Troy felt strangely dizzy as he pondered on the carven tribute to his ancestor. It began, as he well remembered, “A soldier of the Revolution and of God.” Dizzy as he was, he would like to recite the whole of that inscription, with the proper emphasis, for the youngster’s benefit. Where was the kid, that little Lord Bountiful, “a traveller like myself”? Oh, yes, he remembered now, but with immense, overpowering difficulty. The boy had vanished, fled away on the wings of an Iliad. “A soldier of the Revolution,”—but the words he was staring at were dizzier than himself. Hell, they must be, whirling so! Blindly throwing out an arm, he stumbled and fell, his hand striking the fallen marble slab in memory of Thanksgiving Burton. Like Royal, he had for the present reached the end of his appointed rounds.

VI