"I have never been more honored, sir. It was more than kind of you to wish me to come. My only regret is that I am not your age, or I would certainly have appeared in a costume more befitting the occasion. I have never dreamed of so beautiful a place."

Or to see him lift his hand in astonishment as he swept his eye over the room, his arm still resting on the velvet sleeve of Oliver's doublet, and hear him add, in a half whisper:

"Wonderful! Wonderful! Such harmony of color; such an exquisite light.

I am amazed at the splendor of it all. What Aladdin among you, my son, held the lamp that evoked all this beauty?"

Or still more convincing would it have been had he watched him moving about the room, shaking every man's hand in turn, Oliver mentioning their real names and their several qualifications, and after ward the characters they a.s.sumed, and Richard commenting on each profession in a way quite his own.

"A musician, sir," he would have heard him exclaim as he grasped Simmons's hand, over which hung a fall of antique lace; "I have loved music all my days. It is an additional bond between us, sir. And the costume is quite in keeping with your art. How delightful it would be, my dear sir, if we could discard forever the sombre clothes of our day and go back to the velvets and silks Of the past."

"Mr. Stedman, did you say, my son?" and he turned to Oliver. "You have certainly mentioned this gentleman's name to me before. If I do not mistake, he is one of your very old friends. There is no need of your telling me that you are Lorenzo. I can quite understand now why Jessica lost her heart."

Or to see him turn to Jack Bedford with: "You don't tell me so! Mr.

John Bedford, did you say, Oliver? Ah, but we should not be strangers, sir. If I am right, you are a fellow-townsman of ours, and have already distinguished yourself in your profession. Your costume is especially becoming to you, sir. What discernment you have shown. Permit me to say, that with you the old adage must be reversed--this time the man makes the clothes."

The same adage could really have been applied to this old gentleman's own dress, had he but only known it. He had not altered it in twenty years, even after it had become a matter of comment among his neighbors in Kennedy Square.

"I always a.s.sociate one's clothes with one's manners," he would say, with a smile. "If they are good, and suited to the occasion, best not change them." Nathan was of the same mind. The wide hat, long, evenly parted hair, and pen-wiper cloak could be traced to these same old-fashioned ideas. These idiosyncrasies excited no comment so far as Nathan was concerned. He was always looked upon as belonging to some antediluvian period, but with a progressive man like Richard the case, his neighbors thought, might have been different.

As Richard moved about the room, saluting each one in turn, the men in and out of costume--the guests were in evening dress--looked at each other and smiled at the old gentleman's quaint ways, but the old gentleman, with the same ease of manner and speech, continued on quite around the table, followed closely by Nathan, who limited his salutations to a timid shake of the fingers and the leaving of some word of praise or quaint greeting, which many of them remember even to this day.

These introductions over--Oliver had arrived on the minute--the ceremony of seating the guests was at once begun. This ceremony was one of great dignity, the two men-at-arms escorting the Master of the Feast, the Most High Pan-Jam, Frederico Stono, N.A., to his Royal Chair, guarded by the immovable blackamoors, the members and guests standing until His Royal Highness had taken his seat, and then dropping into their own. When everyone was in his place Richard found himself, to his delight, on the right of Fred and next to Nathan and Oliver--an honor accorded to him because of his age and relationship to one of the most popular members of the club, and not because of his genius and attainments--these latter attributes being as yet unknown quant.i.ties in that atmosphere. The two thus seated together under the especial care of Oliver--a fact which relieved the master of ceremonies of any further anxiety on their account--were to a certain extent left to themselves, the table being too large for general conversation except with one's neighbors.

The seat in which he had been placed exactly suited Richard's frame of mind. With an occasional word to Fred, he sat quite still, talking now and then in low tones to Nathan, his eyes taking in every detail of the strange scene.

While Nathan saw only the color and beauty of it all, Richard's keener mind was a.n.a.lyzing the causes that had led up to such a gathering, and the skill and taste with which the banquet had been carried out. He felt a.s.sured that the men who could idle so luxuriously, and whose technical knowledge had perfected the artistic effects about him, could also work at their several professions with equal results. He was glad that Oliver had been found worthy enough to be admitted to such a circle. He loved, too, to hear his son's voice and watch the impression his words made on the room. As the evening wore on, and he listened to his banter, or caught the point of the jests that Oliver parried and heard his merry laugh, he would slip his hand under the table and pat his boy's knee with loving taps of admiration, prouder of him than ever. His own pleasures so absorbed him that he continued to sit almost silent, except for a word now and then to Nathan or a monosyllable to Fred.

The guests who were near enough to observe the visitors closely soon began to look upon Richard and Nathan as a couple of quaint, harmless, exceedingly well-bred old gentlemen, rather provincial in appearance and a little stilted in their manners, who, before the evening was over, would, perhaps, become tired of the gayety, ask to be excused, and betake themselves to bed. All of which would be an eminently proper proceeding in view of their extreme age and general infirmities, old gentlemen of three score years and over appearing more or less decrepit to athletes of twenty and five.

Waller was the only man who really seemed to take either of them seriously. After a critical examination of Richard's head in clear relief under the soft light of the candles, he leaned over to Stedman and said, in a half whisper, nodding toward Richard:

"Stedman, old man, take that in for a minute. Strong, isn't it?

Wouldn't you like to paint him as a blessed old Cardinal in a red gown?

See how fine the nose is, and the forehead. Best head I've seen anywhere. Something in that old fellow."

The dinner went on. The Malays in scarlet and yellow served the dishes and poured the wine with noiseless regularity. The men at arms at each side of the door rested their legs. The two blackamoors, guarding the High Pan-Jam's chair, and who had been promised double pay if they kept still during the entire evening, had not so far winked an eyelid. Now and then a burst of laughter would start from one end of the table, leap from chair to chair, and end in a deafening roar in which the whole room joined. Each man was at his best. Fred, with entire gravity, and with his sternest and most High Pan-Jam expression, told, just after the fish was served, a story of a negro cook at a camp so true to life and in so perfect a dialect that the right-hand blackamoor doubled himself up like a jack-knife, much to the astonishment of those on the far side of the big round table, who up to that moment had firmly believed them to be studio properties with ebony heads screwed on bodies of iron wire, the whole stuffed with curled hair. Bianchi, Who had come in late, clothed in a Burgomaster's costume and the identical ruff that Oliver had expected to paint him in the night when the Countess took his place, was called to account for piecing out his dress with a pair of breeches a century behind his coat and hat, and had his voice drowned in a roar of protests before he could explain.

Batterson, the big baritone of the club, Batterson with the resonant voice, surpa.s.sed all his former efforts by singing, when the cheese and salads were served, a Bedouin love-song, with such power and pathos and to the accompaniment of a native instrument so skilfully handled that the room rose to its feet, waving napkins, and the great Carvalho, the famous tenor--a guest of Crug's, each member could invite one guest--who was singing that week at the Academy of Music, left his seat and, circling the table, threw his arms about the singer in undisguised admiration.

When the cigars and liqueurs had been pa.s.sed around--these last were poured from bubble-blown decanters and drunk from the little cups flecked with gold that Munson had found in an old shop in Ravenna--the chairs were wheeled about or pushed back, and the members and guests rose from the table and drifted to the divans lining the walls, or threw themselves into the easy-chairs that were being brought from the corners by the waiters. The piano, with the a.s.sistance of the two now crest-fallen and disappointed blackamoors, who, Eurydice like, had listened and lost, was pushed from its place against the wall; Crug's 'cello was stripped of its green baize bag and Simmons's violin-case opened and his Stradivarius placed beside it. The big table, bearing the wreck of the feast, more captivating even in its delightful disorder than it had been in its orderly confusion, was then, with the combined help of all the Malays, moved gently back against the wall, so as to widen the s.p.a.ce around the piano, its debris left undisturbed by special orders from the Royal Chair, the rattling of dishes while their fun was in progress being one of the things which the club would not tolerate.

While all this rearranging of the banquet-hall was going on, Simmons was busying himself putting a new bridge under the strings of his violin, tightening its bow, and testing the condition of his instrument by that see-saw, harum-scarum flourish so common to all virtuosos;--no function of the club was ever complete without music--the men meanwhile settled themselves comfortably in their seats; some occupying their old chairs, others taking possession of the divans, the gay costumes of the members, and the black coats and white shirt-fronts of the guests in high relief against the wrecked dinner-table presenting a picture as rich in color as it was strong in contrast.

What is so significant, by the way, or so picturesque, as a dinner-table wrecked by good cheer and hospitality? The stranded, crumpled napkins, the bunching together of half and wholly emptied gla.s.ses, each one marking a period of content--the low candles, with half dried tears still streaming down their cheeks (tears of laughter, of course); the charming disorder of cups on plates and the piling up of dishes one on the other--all such a protest against the formality of the beginning! and all so suggestive of the lavish kindness of the host. A wonderful object-lesson is a wrecked dinner-table, if one cares to study it.

Silence now fell upon the room, the slightest noise when Simmons played being an unpardonable sin. The waiters were ordered either to become part of the wall decoration or to betake themselves to the outside hall, or the infernal regions, a suggestion of Waller's when one of them rattled some gla.s.ses he was carrying on a tray.

Simmons tucked a handkerchief in the band of his collar, balanced his bow for an instant, looked around the room, and asked, in a modest, obliging way:

"What shall it be, fellows?"

"Better give us Bach. The aria on the G strings," answered Waller.

"No, Chopin," cried Fred.

"No, you wooden-head, Bach's aria," whispered Waller. "Don't you know that is the best thing he does?"

"Bach it is then," answered Simmons, tucking his instrument under his chin.

As the music filled the room, Richard settled himself on one of the large divans between Nathan and Oliver, his head lying back on the cushions, his eyes half closed. If the table with its circle of thoughtful and merry faces, had set his brain to work, the tones of Simmons's violin had now stirred his very soul. Music was the one thing in the world he could not resist.

He had never heard the aria better played. He had no idea that anyone since Ole Bull's time could play it so well. Really, the surprises of this wonderful city were becoming greater to him every hour. Nathan, too, had caught the infection as he sat with his body bent forward, his head on one side listening intently.

When the last note of Simmons's violin had ceased vibrating, Richard sprang to his feet with all the buoyancy of a boy and grasped the musician by the hand.

"My dear sir, you really astound me! Your tone is most exquisite, and I must also thank you for the rendering. It is one quite new to me. Ole Bull played it, you remember--excuse me," and he picked up Simmons's violin where he had laid it on the piano, tucked it under his chin, and there vibrated through the room, half a dozen quivering notes, so clear and sweet that all eyes were instantly directed toward the quaint old gentleman, who still stood with uplifted bow, the violin in his hand.

"Where the devil did he learn to play like that?" said one member to another. "Why I thought he was an inventor."

"Keep your toes in your pumps, gentlemen," said Waller under his breath to some men beside him, as he sat hunched up in the depths of an old Spanish armchair. He had not taken his eyes from Richard while the music went on. "We're not half through with this old fellow. One thing I've found out, any how--that's where this beggar Horn got his voice."

Simmons was not so astounded; if he were he did not show it. He had recognized the touch of a musician in the very first note that came from the strings, just as the painters of the club had recognized the artist in the first line of the Countess's brush.

"Yes, you're right, Mr. Horn," said Simmons, as Richard returned him the instrument. "Now I come to think of it, I do remember having heard Ole Bull phrase it in that way you have. Stop a moment; take my violin again and play the air. There's another instrument here which I can use. I brought it for one of my orchestra, but he has not turned up yet," and he opened a cabinet behind him and took out a violin and bow.

Richard laughed as he again picked up Simmons's instrument from the piano where he had laid it.

"What an extraordinary place this is," he said as he adjusted the maestro's violin to his chin. "It fills me with wonder. Everything you want seems to be within reach of your hand. You take a bare room and transform it into a dream of beauty; you touch a spring in a sixteenth century cabinet, and out comes a violin. Marvellous! Marvellous!" and he sounded the strings with his bow. "And a wonderful instrument too,"

he continued, as he tightened one of its strings, his acute ear having detected a slight inaccuracy of pitch.

"I'm all ready, Mr. Simmons; now, if you please."

If the club and its guests had forgotten the old gentleman an hour before, the old gentleman had now quite forgotten them.

He played simply and easily, Simmons joining in, picking out the accompaniment, entirely unaware that anybody was listening, as unaware as he would have been had only the white-haired mistress been present, and perhaps Malachi stepping noiselessly in and out. When he ceased, and the audience had broken out into exclamations of delight, he looked about him as if surprised, and then, suddenly remembering the cause of it all, said, in a low, gentle voice, and with a pleasant smile: "I don't wonder you're delighted, gentlemen. It is to me the most divine of all his creations. There is only one Bach." That his hand had held the bow and that the merit of its expression lay with him, never seemed to have entered his head.

When the applause had died out, and Oliver with the others had crowded around his father to congratulate him, the young fellow's eyes fell upon Nathan, who was still sitting on the long divan, his head resting against the wall, his trembling legs crossed one over the other, the thin hands in his lap--Richard's skill was a never-ending delight to Nathan, and he had not lost a note that his bow had called out. The flute-player had kept so quiet since the music had begun, and had become so much a part of the decorations--like one of the old chairs with its arms held out, or a white-faced bust staring from out a dark corner, or some portrait that looked down from the tapestries and held its peace--that almost everyone had forgotten his presence.

The att.i.tude of the old man--always a pathetic one, brought back to Oliver's mind some memory from out his boyhood days. Suddenly a forgotten strain from Nathan's flute floated through his brain, some strain that had vibrated through the old rooms in Kennedy Square.

Springing to his feet and tip-toeing to the door, he pa.s.sed between the two men in armor--rather tired knights by this time, but still on duty--ran down the carpeted hall between the lines of palms and up one flight of stairs. Then came a series of low knocks. A few minutes later he bounded in again, his rapier in his hand to give his legs freer play.

"I rapped up Mitch.e.l.l, who's sick in his studio upstairs, and got his flute," he whispered to Waller. "If you think my father can play you should hear Uncle Nat Gill," and he walked toward Nathan, the flute held out toward him.

The old gentleman woke to consciousness at the sight of the instrument, and a slight flush overspread his face.

"Oh, Oliver! Really, gentlemen--I--Of course, I love the instrument, but here among you all--" and he looked up in a helpless way.

"No, no, Uncle Nat," cried Oliver, pressing the flute into Nathan's hand. "We won't take any excuse. There is no one in my town, gentlemen," and he faced the others, "who can play as he does. Please, Uncle Nat--just for me; it's so long since I heard you play," and he caught hold of Nathan's arm to lift him to his feet.