Part 12

Nevertheless, she did not tell him all. She could speak of Stella, of Amy, of young Meyer, of the floor-walker, but no word of Paul passed her lips. She let Atwood infer that the stigma of the refuge had driven her from Grimes's employ, as it had thrust her from the department store. The whole chain of circumstances which the dentist's name connoted had become suddenly as inexplicable to herself as to this transcendent hero of a perfect day.

The sun was low when she made an end, and the long-drawn shadows of the birches in the lake turned their thoughts again to that other sundown.

"You were a lonely little figure as I looked back," he said. "I took that picture with me through the hills, and it remained my sharpest memory. It was a sad memory, a mute reproach, like the poor things I bought for you to wear."

"Then you did get them!" she cried, her dress instinct astir. "What were they like?"

"I will show them to you some day."

"You've kept them? I must pay my debt."

He shook his head. "They're not for sale. You shall see them when you come to my studio."

"You are an artist, too?"

"I paint," he replied simply. "When you are not busy with MacGregor, you will find work with me. We'll arrange that among us. Old Mac little dreams our secret."

"It is a secret?"

"With me, at any rate. I've never told. You see"--he looked away with a sudden diffidence almost boyish; then back again with a temerity that was boyish, too--"you see, I was jealous of my memories. I wanted to keep them wholly to myself. Our meeting was--how shall I say it?--a kind of idyl. And you--have you told?"

"Never."

"Was it partly for my reason?"

"Yes," she answered; "partly for your reason."

"But those clothes," he said, after a moment, "you'll smile when you see them. I've tried many a time to imagine you wearing them, braving the world as you planned so stoutly. Perhaps it would have been no harder than the other way. Perhaps--but that's over with, thank heaven! You've earned your freedom and have a brighter lot than a fugitive's to face. I don't mean a model's life. That will be temporary. There's something in you, something fine that only needs its chance. I can't tell you how I know this any more than I can tell you what it is, but I believe in it as I believe in my own existence. I know it's true, as true as the fact that we stand here face to face."

By some necromancy of the mind he mirrored back her own vague hopes.

"But I am a woman," she said, eager for more.

"So much the better. You live in woman's day. But don't forget that you have given me a part of it," he added, as she rose. "My own particular solar day isn't ended yet. When we first met, you had me to luncheon, or was it breakfast? I'm going to return the courtesy."

"But--"

"You couldn't be more appropriately dressed for a park restaurant," he cut in, pursuing her glance. "They'll serve us under an arbor where the wistaria blooms in May. We'll have to pretend about the wistaria, but it ought to be easy. The great pretense has come true."

XX

She learned from MacGregor what Atwood's modest "I paint" signified.

"He is an illustrator who illustrates," he told her their first day, while they worked. "I mean--left arm a trifle higher, please; you've shifted the pose--I mean he gets into the skin of a writer's characters, when they have any. If they're mere abstractions, he creates blood, bones, and epidermis for them outright. Rarer thing than you imagine, I dare say, in spite of the newspaper jokes. You can count the men on one hand who do it here in New York, and to my mind Craig deserves the index finger. He'd find a soul for a rag doll. But I'm only telling you what any top-notch magazine you pick up says more forcibly."

Jean cloaked her ignorance in silence and put her trust in MacGregor's enthusiasm for further light. After an industrious interval it came.

"But that isn't all," he added, tilting back to study his canvas through half-shut eyes. "The public doesn't know Atwood's true _metier_. He's bigger than they think. I'll show you something in a minute. It's time for rest."

He lingered for a brush stroke, which at one sweep filled a languid fold of drapery with action, and then crossed the studio to the stack of unfinished work beside the wall.

"Wait," he warned, placing a canvas in the trial frame and wheeling an easel tentatively. "It's in the rough, but we can give it light and a setting. Now look. That's what I call portraiture."

Even her unschooled eye perceived its strength. It was MacGregor who looked out at her, MacGregor as she herself had twice seen him that day with his working fit upon him, New York forgotten, Africa filling every thought.

"And Mr. Atwood did it?"

"Nobody else. He sat over there in that corner, while I worked in mine, and painted what he saw."

"It's a wonderful likeness."

"Likeness!" MacGregor shook the poor word contemptuously. "Likeness! Child, it's divination!"

He dismissed her early in the afternoon, for it was raining fitfully and the light was uncertain, and on leaving she turned her steps toward the Astor Library, intent on a purpose inspired by MacGregor's talk. She had some acquaintance with the lending libraries, but none with this sedate edifice whose size and gloom oppressed her as she looked vainly about for her elderly fellow-boarder who spent his life somewhere amidst its dinginess. In this quandary, she was spied by a mannered attendant whose young face, framed in obsolete side-whiskers, reminded her of certain middle-Victorian bucks of Thackeray's whom she had come to know during spare moments at the dental parlors. This guide led her into a large reading-room where he assured her ladies were welcome, despite the frowns of the predominant sex whose peace they ruffled, and found her the two or three illustrated periodicals she named.

Without exception these contained Atwood's work, a fact which impressed her tremendously; and without exception they bore testimony to his superiority as emphatically as MacGregor. She pored over these drawings one by one, weighing them much as she weighed his spoken thought, and judging them, no less than his speech, most candid mirrors of his personality. In what this personality's appeal consisted, she had neither the detachment nor the wish to define; she could only uncritically feel its sincerity, its romance, and its power.

She craved a fuller knowledge, however, than these mute witnesses could give, and the desire presently drew her back into the high-vaulted chamber where the library's activities seemed to focus; and here, bewildered by the riches of the card catalogue, she was luckily seen by the quiet old man who lent his dignity to the head of Mrs. St. Aubyn's table. He smiled gently upon her over his spectacles, pondering the motive behind her request as he had speculated about the motives of thousands before her, and instantly, out of a head whose store she felt that she had scantily appreciated, produced half a dozen likely references which he straightway bade a precocious small boy to track to their fastnesses in some mysterious region he called the stacks; himself, meanwhile, with a faded gallantry, escorting her to a desk in a scholarly retreat where only feminine glances questioned her coming.

So ensconced, she came upon the facts she sought in a bound volume of a journal devoted chiefly to the fine arts. She learned here that her knight errant's full name was Francis Craig Atwood, that New York claimed the honor of his birthplace, and that he was a trifle less than ten years older than herself. There followed a list of his schools, which ended with Julien's Academy in Paris, where it appeared he had gone the autumn after their meeting, and had exhibited canvases at the Salons of two successive years. His return to America and his instant recognition coincided closely with her own coming to New York. The concluding analysis of his work bristled with technicalities, but she read into it the qualities which she perceived or imagined in the man, and, staring into the dusty alcove over against her seat, lost herself in a brown study of what such success as this probably meant to him. Newspaper paragraphs about his comings and goings, she supposed, many sketches like this under her hand, social opportunities of course, the flattery of women, friendships with the clever and the rich. It rather daunted her to find him a celebrity, and at this pass nothing could have so routed her self-possession as to discover that a man, of whose nearness at an adjacent bookcase she had been vaguely aware, was no other than Atwood himself.

"Thank you," he laughed, with a wave of the hand toward the telltale page. "But there's better reading in the library."

Jean clapped to the offending volume and blushed her guiltiest.

"You must think me very silly," she stammered. "Mr. MacGregor praised your work, showed me the portrait--"

"Of course he did. You have discovered Mac's weakness and his dangerous charm. He believes all his friends are geniuses. You'll grow as conceited as the rest of us in time."

"And have the other conceited friends done work like yours and said nothing about it?" she asked.

"A thousand times better. You've no idea what a clever lot of men and women Mac knows." He rapidly instanced several artists, sculptors, and writers of prominence, adding: "But you will see them all at The Oasis sooner or later. You've probably noticed that Mac is one of those rareties who can talk while they work. What would hinder most people, only stimulates him. And it stimulates the other fellow, too. I always drop in on him for a tonic when my own stuff lags. I was there this afternoon, in fact, though for another reason. I wanted to see you. It must have been telepathy that brought me down here; I thought it was 'The Gadzooks'!"

"'The Gadzooks,'" she puzzled.

"Merely my slang for the Revolutionary romance," he explained. "I'm illustrating still another one, and ran in here to resolve my doubts about bag-wigs. My novelist seems to have invented a new variety. But about you: if you don't mind the weather, and have nothing better to do, I should like to take you over to a Fifth Avenue picture dealer's to see a so-called Velasquez that's come into the market."

Jean absorbed more than the true rank and value of Velasquez's portraiture. Wet or dry, the weather was irreproachable. Did it rain, there were yet other picture dealers' secluded galleries where one might loiter luxuriously; while for the intervals of sunshine the no less fascinating shop-windows awaited, each a glimpse into the wonderland of Europe, which her guide seemed to know so well. They even discussed going on to the Metropolitan to look in at a Frans Hals and a Rembrandt, which the talk of Velasquez suggested, but Atwood's absurd watch, corroborated by several equally ridiculous clocks of the neighborhood, said plainly that it was well past closing time at the museum and indeed quite the day's end here among the shops.

He was loath to let her go.

"It's been like a too short trip abroad," he said. "I hate to book for home just yet. Why can't we dine as we did last night?"

She shook her head.

"Yesterday was an occasion."

"Say Italy?" he persisted. "We've skimmed England, France, the Low Countries; why not Italy? I know a little place that's as Italian as Naples. You would never guess its existence. It looks like every other brownstone horror outside, with not a hint of its real business, for they say old Gaetano Sanfratello has no license. He looks you over through the basement grating, and, if you're found worthy, leads you through a tunnel of a hallway into the most wonderful kitchen you ever saw. It's as clean as clean and is a regular treasure-house of shining copper. Then you'll find yourself out in what prosaic New York calls a back yard, but which, in fact, is a trattoria in the kingdom of Victor Emmanuel, whose lithograph you will see above the door. There are clusters of ripening grapes in the trellis overhead, and Chianti or Capri antico--real Capri--on the cloth below; and they'll serve you such artichoke soups, cheese soufflés, and reincarnations of the chestnut, as the gods eat! And Gaetano's pretty daughter will wait upon us and sing 'Bella Napoli,' and perhaps, if we're in great luck, she'll let us have a peep at her bambino which she keeps swaddled precisely like the one in that copy of Luca della Robbia you are staring at this minute. Aren't you tempted?"

She was, but resisted successfully; and when he saw that she was inflexible, he walked with her to her own street, planning other holidays of a future which should know no shadows.

"You must forget that gray time you've left behind you," he declared. "Call this your real beginning--your rebirth, your renaissance."

So in truth it was. The weeks following were weeks of rapid growth and ripening, which, Atwood's influence admitted, yet found their compelling force in the girl's own will. The ambition to do her utmost for MacGregor, to learn what books could teach of the life he knew by living, took her back repeatedly to the library; then other suggestions of the studio, which, even at its narrowest, was a school of curious knowledge about common things that few, save the artist, seemed to see as they were. Who but he, for instance, stopped to consider that sunlight filtering through leaves fell in circles; that shadows were violet, not black; that tobacco smoke from the mouth was of another color than the graceful spiral which rose from the tip of a cigarette? But this field opened into innumerable others in the wide domain where her two friends plied their differing talents; while these, in turn, marched with the boundaries of others still, whose only limits were Humanity's. Life itself set the true horizon to MacGregor's Oasis.

Among MacGregor's intimates who shared the secret of a knock which admitted them at all hours, but who, busy men themselves, came oftenest after the north light failed, was a sculptor named Karl Richter. This man's specialty was the American Indian, but he also had known the Arab at first-hand, and Africa in one or another of its myriad phases was ever the topic when he and MacGregor foregathered. Listening to their talk, Jean came to visualize the bronze-skinned folk, the vivid market-places, the wild music of hautboys and tom-toms, the gardens of fig and olive and orange and palm, the waysides thicketed with bamboo, tamarisk, or scarlet geranium, and the desert,--above all, the mysterious, terrible, beautiful desert,--as things which her own senses had known. It chanced one day that they spoke of camels and, as often, began to argue; and that Richter, to prove his point, whipped from his pocket a lump of modeling wax, which, under his wonderful fingers, became in a twinkling a striking counterfeit of the beast itself. It could not have been more than an inch in height, but it was a very camel, stubborn, complaining, alive. MacGregor confuted, the sculptor annihilated the little animal with a careless pinch, tossed the wax aside, and soon after went his way.

Dissatisfied with his work, MacGregor presently caught his canvas from the easel, and, laying it prone upon the floor, began by shifting strips of card-board to hunt the truer composition. Jean, left to herself, took up the discarded wax, tried vainly to coax back the vanished camel, and then amused herself with a conception of her own. So absorbed did she become that MacGregor finished his experiments unheeded, and, receiving no answer to a question, still unregarded came and peered over her shoulder.

"Great Jupiter Pluvius!" he exclaimed.

Jean whirled about.

"How you startled me!" she said.

"It's nothing to the way you've startled me. Where did you see that head you've modeled?"

"Oh, this?" She tried to put the wax away. "It's nothing--only a baby in our block."

MacGregor pounced upon the model and bore it to the light.

"Nothing! Merely a study from life, that's all! Just a trifle thrown off in your odd moments!" He turned the little head round and round, showering exclamations. "Who taught you?" he demanded, striding back. "Somebody had a finger in it besides you. There are lines here that can't be purely intuitive."

"I used to watch my father."

"Was he a sculptor?"

"He might have been, if he'd had the chance. But he had to work at other things, and he married--"

"I know, I know," MacGregor groaned. "Love in a cottage and to hell with art! But he couldn't keep his thoughts or his hands from it. He modeled when he could?"

Jean nodded dreamily.

"Sundays, mainly," she answered. "We used to go into the country together. He found a bed of good clay near a creek where the mint grew. I can never smell mint without remembering. I couldn't go back there after he died."

MacGregor gave her a sidelong glance, hemmed, made an unnecessary trip across the studio, and kicked a fallen burnous violently.

"But you went on modeling?" he asked, returning.

"Yes--by and by. Then, later, I stopped."

"Why?"

"I--I hadn't the clay?" she evaded.

MacGregor brooded over her handiwork a moment longer, then squared his jaw.

"You'll have the 'clay' hereafter," he said.

XXI

At the outset she was rather skeptical of his faith in her. Had not Atwood said that MacGregor saw genius in all his friends? But the younger man now hailed him a most discerning judge.

"It's the something I divined," he declared jubilantly, "the gold-bearing vein I believed in, but hadn't the luck to unearth. Now to develop it! What does Mac advise?"

"One of the art schools," said Jean. "I can go evenings, it seems."

"And work days! It's a stiff programme you plan."

"But the school won't mean work," she declared. "Then, too, the posing comes far easier than it did. Mr. MacGregor says my muscles are almost as steady as a professional's."

"So he tells me. I'm going to insist on sharing your time. He has monopolized you long enough."

MacGregor's monopoly did not cease at once, however. His first step on discovering Jean's talent was to enlist Richter's expert criticism and counsel with the practical outcome that the sculptor's door swung open to her in the daylight hours when MacGregor worked with male models. The clay-modeling-room at the art school was a wonderful place. Its casts, its tools, its methods, were a revelation after the crude shifts with which her father had had to content himself; but Richter's studio transcended it as a university transcends a kindergarten. Here were conceived ideas which found perpetuity in bronze!

Studio and sculptor were each unique. A little man of crippled frame, Karl Richter delighted in the muscular and the colossal and walked a pigmy amidst his own creations. Michael Angelo was his god; but his manner was his own, and the Indians and cow-boys he loved best to express were remote enough from the great Florentine's subjects to acquit him of imitation. His frail physique notwithstanding, he had been at pains to see for himself the primitive life he adored, and the idler who coined "The Oasis" dubbed the sculptor's place "The Wigwam," and spread a facetious tale that Richter went about his work in blanket and moccasins, and habitually smoked a calumet which had once belonged to Sitting Bull. Richter never denied this myth, which by now had received the sanction of print, and took huge satisfaction in the crestfallen glances unknown callers gave his conventional dress. However, the studio itself, a transformed stable, was sufficiently picturesque. It overflowed with spoils from ranch and tepee, and, thanks to the Wild West show which furnished MacGregor occasional Arabs, sometimes sheltered genuine, if sophisticated, red men.

About this time Jean left Mrs. St. Aubyn's, whose neighborhood Paul, after dejected silence, had again begun to haunt. She had thus far eluded him, but meet they must, she felt, if she remained; and with Amy's abrupt departure, which now came to pass, she changed to a boarding-house of Atwood's recommending in Irving Place.

"There are no signs of the trade about it, fashionable or unfashionable," he said. "It's just a homelike place, neither too large nor too small, where you will see mainly art students. Many of them, like you, are making their own way, and all of them are dead in earnest. All the illustrators know Mrs. Saunders. Half of us have lived under her roof some time or other."

"You, too!"

He smiled at her tone.

"I wasn't born with a golden spoon, you know. Some New Yorkers aren't. I inherited a little money, but I'm not a plutocrat yet, even if editors do smile upon me. Julie and I thoroughly mastered the gentle art of scrimping at one time. Have I ever mentioned my sister, Mrs. Van Ostade?"

"You spoke of her the day I saw you first."

"At the birches?" he returned, surprised.

"You said she would not understand."

His eyes sobered.

"I remember," he said. "And it was true. Neither would she understand now, I fear. She has been both wedded and widowed since. You'll see her at the studio yet, if MacGregor ever lets us begin work together. She surprises me there when she thinks I am neglecting my duties as a social being. Julie has all the zeal of a proselyte in her missionary labors for society," he added laughingly. "She married into one of the old Dutch families."

Jean found that a tradition of Mrs. Van Ostade's residence in Irving Place still lingered there. She was spoken of as Craig Atwood's sister, the clever girl who had jockied for position, on nothing a year, by cultivating fashionable charities. Settlement work, it appeared, had been the fulcrum for her lever. No one here, however, had known her personally, save Mrs. Saunders, who was a paragon of reticence when gossip was afield. Indeed, a dearth of gossip, in the invidious sense of the word, was a negative virtue to which her whole establishment might lay claim. Mainly art students, as Atwood had predicted, the sharpest personalities of Jean's new acquaintances dealt with the vagaries of masters whom they furtively admired and not seldom aped. Thus the life-class girl would furrow her pretty forehead over the drawing of a beginner at antique with the precise "Ha!" and "Not half bad!" of the distinguished artist and critic who twice a week set her own heart palpitating with his crisp condemnation or praise.

Illustrating, painting, sculpture, architecture, decorative design, whatever their individual choice, life for each had its center in the particular school of his or her adhesion. Art--always Art--was the beginning and end of their table-talk, and even the two young men who had other interests, a lawyer and a playwright, both embryonic, spoke the language of the studios. To this community of interest was added the discovery that all derived from country stock. Half a dozen states had their nominal allegiance, and not even Mrs. Saunders, who seemed as metropolitan as the City Hall, could boast New York as her birthplace. They brimmed with a fine youthful confidence in their ability to wrest success from this alien land of promise, which charged their atmosphere electrically and spurred Jean's already abundant energy to tireless endeavor. Her days were all too short, and Atwood, whose invitations she repeatedly refused for her art's sake, began to caution her against overwork.

"Philosophic frivolity, as my sister calls it, has its uses," he said. "I usually agree with her social preachments, even if I don't observe them very faithfully. You must know Julie. I'll ask her to call."

Whether he did so or not, Jean was unaware. At all events, Mrs. Van Ostade did not renew her acquaintance with Irving Place, nor did Atwood broach the subject again. If the social columns might be believed, the lady was amply preoccupied with philosophic frivolity. MacGregor presently turned a searching light upon her personality.