"That's all right," said Fulkerson. He esteemed a man who was not going to let himself go cheap. "Or if it isn't, we can make it. You and March will pull together first-rate. I don't care how much ideal you put into the thing; the more the better. I can look after the other end of the schooner myself."

"You don't understand me," said Beaton. "I'm not trying to get a rise out of you. I'm in earnest. What you want is some man who can have patience with mediocrity putting on the style of genius, and with genius turning mediocrity on his hands. I haven't any luck with men; I don't get on with them; I'm not popular." Beaton recognized the fact with the satisfaction which it somehow always brings to human pride.

"So much the better!" Fulkerson was ready for him at this point. "I don't want you to work the old-established racket the reputations.

When I want them I'll go to them with a pocketful of rocks--knock-down argument. But my idea is to deal with the volunteer material. Look at the way the periodicals are carried on now! Names! names! names! In a country that's just boiling over with literary and artistic ability of every kind the new fellows have no chance. The editors all engage their material. I don't believe there are fifty volunteer contributions printed in a year in all the New York magazines. It's all wrong; it's suicidal. 'Every Other Week' is going back to the good old anonymous system, the only fair system. It's worked well in literature, and it will work well in art."

"It won't work well in art," said Beaton. "There you have a totally different set of conditions. What you'll get by inviting volunteer ill.u.s.trations will be a lot of amateur trash. And how are you going to submit your literature for ill.u.s.tration? It can't be done. At any rate, I won't undertake to do it."

"We'll get up a School of Ill.u.s.tration," said Fulkerson, with cynical security. "You can read the things and explain 'em, and your pupils can make their sketches under your eye. They wouldn't be much further out than most ill.u.s.trations are if they never knew what they were ill.u.s.trating. You might select from what comes in and make up a sort of pictorial variations to the literature without any particular reference to it. Well, I understand you to accept?"

"No, you don't."

"That is, to consent to help us with your advice and criticism. That's all I want. It won't commit you to anything; and you can be as anonymous as anybody." At the door Fulkerson added: "By-the-way, the new man--the fellow that's taken my old syndicate business--will want you to keep on; but I guess he's going to try to beat you down on the price of the letters. He's going in for retrenchment. I brought along a check for this one; I'm to pay for that." He offered Beaton an envelope.

"I can't take it, Fulkerson. The letter's paid for already." Fulkerson stepped forward and laid the envelope on the table among the tubes of paint.

"It isn't the letter merely. I thought you wouldn't object to a little advance on your 'Every Other Week' work till you kind of got started."

Beaton remained inflexible. "It can't be done, Fulkerson. Don't I tell you I can't sell myself out to a thing I don't believe in? Can't you understand that?"

"Oh yes; I can understand that first-rate. I don't want to buy you; I want to borrow you. It's all right. See? Come round when you can; I'd like to introduce you to old March. That's going to be our address." He put a card on the table beside the envelope, and Beaton allowed him to go without making him take the check back. He had remembered his father's plea; that unnerved him, and he promised himself again to return his father's poor little check and to work on that picture and give it to Fulkerson for the check he had left and for his back debts.

He resolved to go to work on the picture at once; he had set his palette for it; but first he looked at Fulkerson's check. It was for only fifty dollars, and the canny Scotch blood in Beaton rebelled; he could not let this picture go for any such money; he felt a little like a man whose generosity has been trifled with. The conflict of emotions broke him up, and he could not work.

IV

The day wasted away in Beaton's hands; at half-past four o'clock he went out to tea at the house of a lady who was At Home that afternoon from four till seven. By this time Beaton was in possession of one of those other selves of which we each have several about us, and was again the laconic, staccato, rather worldlified young artist whose moments of a controlled utterance and a certain distinction of manner had commended him to Mrs. Horn's fancy in the summer at St. Barnaby.

Mrs. Horn's rooms were large, and they never seemed very full, though this perhaps was because people were always so quiet. The ladies, who outnumbered the men ten to one, as they always do at a New York tea, were dressed in sympathy with the low tone every one spoke in, and with the subdued light which gave a crepuscular uncertainty to the few objects, the dim pictures, the unexcited upholstery, of the rooms. One breathed free of bric-a-brac there, and the new-comer breathed softly as one does on going into church after service has begun. This might be a suggestion from the voiceless behavior of the man-servant who let you in, but it was also because Mrs. Horn's At Home was a ceremony, a decorum, and not festival. At far greater houses there was more gayety, at richer houses there was more freedom; the suppression at Mrs. Horn's was a personal, not a social, effect; it was an efflux of her character, demure, silentious, vague, but very correct.

Beaton easily found his way to her around the grouped skirts and among the detached figures, and received a pressure of welcome from the hand which she momentarily relaxed from the tea-pot. She sat behind a table put crosswise of a remote corner, and offered tea to people whom a niece of hers received provisionally or sped finally in the outer room. They did not usually take tea, and when they did they did not usually drink it; but Beaton was, feverishly glad of his cup; he took rum and lemon in it, and stood talking at Mrs. Horn's side till the next arrival should displace him: he talked in his French manner.

"I have been hoping to see you," she said. "I wanted to ask you about the Leightons. Did they really come?"

"I believe so. They are in town--yes. I haven't seen them."

"Then you don't know how they're getting on--that pretty creature, with her cleverness, and poor Mrs. Leighton? I was afraid they were venturing on a rash experiment. Do you know where they are?"

"In West Eleventh Street somewhere. Miss Leighton is in Mr. Wetmore's cla.s.s."

"I must look them up. Do you know their number?"

"Not at the moment. I can find out."

"Do," said Mrs. Horn. "What courage they must have, to plunge into New York as they've done! I really didn't think they would. I wonder if they've succeeded in getting anybody into their house yet?"

"I don't know," said Beaton.

"I discouraged their coming all I could," she sighed, "and I suppose you did, too. But it's quite useless trying to make people in a place like St. Barnaby understand how it is in town."

"Yes," said Beaton. He stirred his tea, while inwardly he tried to believe that he had really discouraged the Leightons from coming to New York. Perhaps the vexation of his failure made him call Mrs. Horn in his heart a fraud.

"Yes," she went on, "it is very, very hard. And when they won't understand, and rush on their doom, you feel that they are going to hold you respons--"

Mrs. Horn's eyes wandered from Beaton; her voice faltered in the faded interest of her remark, and then rose with renewed vigor in greeting a lady who came up and stretched her glove across the tea-cups.

Beaton got himself away and out of the house with a much briefer adieu to the niece than he had meant to make. The patronizing compa.s.sion of Mrs. Horn for the Leightons filled him with indignation toward her, toward himself. There was no reason why he should not have ignored them as he had done; but there was a feeling. It was his nature to be careless, and he had been spoiled into recklessness; he neglected everybody, and only remembered them when it suited his whim or his convenience; but he fiercely resented the inattentions of others toward himself. He had no scruple about breaking an engagement or failing to keep an appointment; he made promises without thinking of their fulfilment, and not because he was a faithless person, but because he was imaginative, and expected at the time to do what he said, but was fickle, and so did not. As most of his shortcomings were of a society sort, no great harm was done to anybody else. He had contracted somewhat the circle of his acquaintance by what some people called his rudeness, but most people treated it as his oddity, and were patient with it. One lady said she valued his coming when he said he would come because it had the charm of the unexpected. "Only it shows that it isn't always the unexpected that happens," she explained.

It did not occur to him that his behavior was immoral; he did not realize that it was creating a reputation if not a character for him.

While we are still young we do not realize that our actions have this effect. It seems to us that people will judge us from what we think and feel. Later we find out that this is impossible; perhaps we find it out too late; some of us never find it out at all.

In spite of his shame about the Leightons, Beaton had no present intention of looking them up or sending Mrs. Horn their address. As a matter of fact, he never did send it; but he happened to meet Mr.

Wetmore and his wife at the restaurant where he dined, and he got it of the painter for himself. He did not ask him how Miss Leighton was getting on; but Wetmore launched out, with Alma for a tacit text, on the futility of women generally going in for art. "Even when they have talent they've got too much against them. Where a girl doesn't seem very strong, like Miss Leighton, no amount of chic is going to help."

His wife disputed him on behalf of her s.e.x, as women always do.

"No, Dolly," he persisted; "she'd better be home milking the cows and leading the horse to water."

"Do you think she'd better be up till two in the morning at b.a.l.l.s and going all day to receptions and luncheons?"

"Oh, guess it isn't a question of that, even if she weren't drawing. You knew them at home," he said to Beaton.

"Yes."

"I remember. Her mother said you suggested me. Well, the girl has some notion of it; there's no doubt about that. But--she's a woman. The trouble with these talented girls is that they're all woman. If they weren't, there wouldn't be much chance for the men, Beaton. But we've got Providence on our own side from the start. I'm able to watch all their inspirations with perfect composure. I know just how soon it's going to end in nervous breakdown. Somebody ought to marry them all and put them out of their misery."

"And what will you do with your students who are married already?" his wife said. She felt that she had let him go on long enough.

"Oh, they ought to get divorced."

"You ought to be ashamed to take their money if that's what you think of them."

"My dear, I have a wife to support."

Beaton intervened with a question. "Do you mean that Miss Leighton isn't standing it very well?"

"How do I know? She isn't the kind that bends; she's the kind that breaks."

After a little silence Mrs. Wetmore asked, "Won't you come home with us, Mr. Beaton?"

"Thank you; no. I have an engagement."

"I don't see why that should prevent you," said Wetmore. "But you always were a punctilious cuss. Well!"

Beaton lingered over his cigar; but no one else whom he knew came in, and he yielded to the threefold impulse of conscience, of curiosity, of inclination, in going to call at the Leightons'. He asked for the ladies, and the maid showed him into the parlor, where he found Mrs.

Leighton and Miss Woodburn.