"Why, h.e.l.lo, Witla!" he exclaimed, shocked to see that he was exceptionally thin and pale. "Where have you been all these years? I'm delighted to see you. What have you been doing? Let's go over here to Hahn's and you tell me all about yourself."

"I've been sick, Dula," said Eugene frankly. "I had a severe case of nervous breakdown and I've been working on the railroad for a change. I tried all sorts of specialists, but they couldn't help me. So I decided to go to work by the day and see what that would do. I got all out of sorts with myself and I've been pretty near four years getting back. I think I am getting better, though. I'm going to knock off on the road one of these days and try my hand at painting again. I think I can do it."

"Isn't that curious," replied Dula reminiscently, "I was just thinking of you the other day and wondering where you were. You know I've quit the art director game. Truth failed and I went into the lithographic business. I have a small interest in a plant that I'm managing down in Bond Street. I wish you'd come in and see me some day."

"I certainly will," said Eugene.

"Now this nervousness of yours," said Dula, as they strolled into the restaurant where they were dining. "I have a brother-in-law that was. .h.i.t that way. He's still doctoring around. I'm going to tell him about your case. You don't look so bad."

"I'm feeling much better," said Eugene. "I really am but I've had a bad spell of it. I'm going to come back in the game, though, I feel sure of it. When I do I'll know better how to take care of myself. I over-worked on that first burst of pictures."

"I must say that was the best stuff of that kind I ever saw done in this country," said Dula. "I saw both your shows, as you remember. They were splendid. What became of all those pictures?"

"Oh, some were sold and the rest are in storage," replied Eugene.

"Curious, isn't it," said Dula. "I should have thought all those things would have been purchased. They were so new and forceful in treatment. You want to pull yourself together and stay pulled. You're going to have a great future in that field."

"Oh, I don't know," replied Eugene pessimistically. "It's all right to obtain a big reputation, but you can't live on that, you know. Pictures don't sell very well over here. I have most of mine left. A grocer with one delivery wagon has the best artist that ever lived backed right off the board for financial results."

"Not quite as bad as that," said Dula smilingly. "An artist has something which a tradesman can never have--you want to remember that. His point of view is worth something. He lives in a different world spiritually. And then financially you can do well enough--you can live, and what more do you want? You're received everywhere. You have what the tradesman cannot possibly attain--distinction; and you give the world a standard of merit--you will, at least. If I had your ability I would never sit about envying any butcher or baker. Why, all the artists know you now--the good ones, anyhow. It only remains for you to do more, to obtain more. There are lots of things you can do."

"What, for instance?" asked Eugene.

"Why, ceilings, mural decorations. I was saying to someone the other day what a mistake it was the Boston Library did not a.s.sign some of their panels to you. You would make splendid things of them."

"You certainly have a world of faith in me," replied Eugene, tingling warmly. It was like a glowing fire to hear this after all the dreary days. Then the world still remembered him. He was worth while.

"Do you remember Oren Benedict--you used to know him out in Chicago, didn't you?"

"I certainly did," replied Eugene. "I worked with him."

"He's down on the World now, in charge of the art department there. He's just gone there." Then as Eugene exclaimed over the curious shifts of time, he suddenly added, "Why wouldn't that be a good idea for you? You say you're just about to knock off. Why don't you go down and do some pen work to get your hand in? It would be a good experience for you. Benedict would be glad to put you on, I'm sure."

Dula suspected that Eugene might be out of funds, and this would be an easy way for him to slip into something which would lead back to studio work. He liked Eugene. He was anxious to see him get along. It flattered him to think he had been the first to publish his work in color.

"That isn't a bad idea," said Eugene. "I was really thinking of doing something like that if I could. I'll go up and see him maybe today. It would be just the thing I need now,--a little preliminary practise. I feel rather rusty and uncertain."

"I'll call him up, if you want," said Dula generously. "I know him well. He was asking me the other day if I knew one or two exceptional men. You wait here a minute."

Eugene leaned back in his chair as Dula left. Could it be that he was going to be restored thus easily to something better? He had thought it would be so hard. Now this chance was coming to lift him out of his sufferings at the right time.

Dula came back. "He says 'Sure,'" he exclaimed. "'Come right down!' You'd better go down there this afternoon. That'll be just the thing for you. And when you are placed again, come around and see me. Where are you living?"

Eugene gave him his address.

"That's right, you're married," he added, when Eugene spoke of himself and Angela having a small place. "How is Mrs. Witla? I remember her as a very charming woman. Mrs. Dula and I have an apartment in Gramercy Place. You didn't know I had tied up, did you? Well, I have. Bring your wife and come to see us. We'll be delighted. I'll make a dinner date for you two."

Eugene was greatly pleased and elated. He knew Angela would be. They had seen nothing of artistic life lately. He hurried down to see Benedict and was greeted as an old acquaintance. They had never been very chummy but always friendly. Benedict had heard of Eugene's nervous breakdown.

"Well, I'll tell you," he said, after greeting and reminiscences were over, "I can't pay very much--fifty dollars is high here just at present, and I have just one vacancy now at twenty-five which you can have if you want to try your hand. There's a good deal of hurry up about at times, but you don't mind that. When I get things straightened out here I may have something better."

"Oh, that's all right," replied Eugene cheerfully. "I'm glad to get that." (He was very glad indeed.) "And I don't mind the hurry. It will be good for a change."

Benedict gave him a friendly handshake in farewell. He was glad to have him, for he knew what he could do.

"I don't think I can come before Monday. I have to give a few days' notice. Is that all right?"

"I could use you earlier, but Monday will do," said Benedict, and they parted genially.

Eugene hurried back home. He was delighted to tell Angela, for this would rob their condition of part of its gloom. It was no great comfort to him to be starting in as a newspaper artist again at twenty-five dollars a week, but it couldn't be helped, and it was better than nothing. At least it was putting him back on the track again. He was sure to do still better after this. He could hold this newspaper job, he felt, and outside that he didn't care very much for the time being; his pride had received some severe jolts. It was vastly better than day labor, anyway. He hurried up the four flights of stairs to the cheap little quarters they occupied, saying when he saw Angela at the gas range: "Well, I guess our railroad days are over."

"What's the trouble?" asked Angela apprehensively.

"No trouble," he replied. "I have a better job."

"What is it?"

"I'm going to be a newspaper artist for a while on the World."

"When did you find that out?" she asked, brightening, for she had been terribly depressed over their state.

"This afternoon. I'm going to work Monday. Twenty-five dollars will be some better than nine, won't it?"

Angela smiled. "It certainly will," she said, and tears of thanksgiving filled her eyes.

Eugene knew what those tears stood for. He was anxious to avoid painful reminiscences.

"Don't cry," he said. "Things are going to be much better from now on."

"Oh, I hope so, I hope so," she murmured, and he patted her head affectionately as it rested on his shoulder.

"There now. Cheer up, girlie, will you! We're going to be all right from now on."

Angela smiled through her tears. She set the table, exceedingly cheerful.

"That certainly is good news," she laughed afterward. "But we're not going to spend any more money for a long while, anyhow. We're going to save something. We don't want to get in this hole again."

"No more for mine," replied Eugene gaily, "not if I know my business," and he went into the one little combination parlor, sitting room, reception room and general room of all work, to open his evening newspaper and whistle. In his excitement he almost forgot his woes over Carlotta and the love question in general. He was going to climb again in the world and be happy with Angela. He was going to be an artist or a business man or something. Look at Hudson Dula. Owning a lithographic business and living in Gramercy Place. Could any artist he knew do that? Scarcely. He would see about this. He would think this art business over. Maybe he could be an art director or a lithographer or something. He had often thought while he was with the road that he could be a good superintendent of buildings if he could only give it time enough.

Angela, for her part, was wondering what this change really spelled for her. Would he behave now? Would he set himself to the task of climbing slowly and surely? He was getting along in life. He ought to begin to place himself securely in the world if he ever was going to. Her love was not the same as it had formerly been. It was crossed with dislike and opposition at times, but still she felt that he needed her to help him. Poor Eugene--if he only were not cursed with this weakness. Perhaps he would overcome it? So she mused.

CHAPTER x.x.xI.

The work which Eugene undertook in connection with the art department of the World was not different from that which he had done ten years before in Chicago. It seemed no less difficult for all his experience--more so if anything, for he felt above it these days and consequently out of place. He wished at once that he could get something which would pay him commensurately with his ability. To sit down among mere boys--there were men there as old as himself and older, though, of course, he did not pay so much attention to them--was galling. He thought Benedict should have had more respect for his talent than to have offered him so little, though at the same time he was grateful for what he had received. He undertook energetically to carry out all the suggestions given him, and surprised his superior with the speed and imagination with which he developed everything. He surprised Benedict the second day with a splendid imaginative interpretation of "the Black Death," which was to accompany a Sunday newspaper article upon the modern possibilities of plagues. The latter saw at once that Eugene could probably only be retained a very little while at the figure he had given him. He had made the mistake of starting him low, thinking that Eugene's talent after so severe an illness might be at a very low ebb. He did not know, being new to the art directorship of a newspaper, how very difficult it was to get increases for those under him. An advance of ten dollars to anyone meant earnest representation and an argument with the business manager, and to double and treble the salary, which should have been done in this case, was out of the question. Six months was a reasonable length of time for anyone to wait for an increase--such was the dictate of the business management--and in Eugene's case it was ridiculous and unfair. However, being still sick and apprehensive, he was content to abide by the situation, hoping with returning strength and the saving of a little money to put himself right eventually.

Angela, of course, was pleased with the turn of affairs. Having suffered so long with only prospects of something worse in store, it was a great relief to go to the bank every Tuesday--Eugene was paid on Monday--and deposit ten dollars against a rainy day. It was agreed between them that they might use six for clothing, which Angela and Eugene very much needed, and some slight entertainment. It was not long before Eugene began to bring an occasional newspaper artist friend up to dinner, and they were invited out. They had gone without much clothing, with scarcely a single visit to the theatre, without friends--everything. Now the tide began slowly to change; in a little while, because they were more free to go to places, they began to encounter people whom they knew.

There was six months of the drifting journalistic work, in which as in his railroad work he grew more and more restless, and then there came a time when he felt as if he could not stand that for another minute. He had been raised to thirty-five dollars and then fifty, but it was a terrific grind of exaggerated and to him thoroughly meretricious art. The only valuable results in connection with it were that for the first time in his life he was drawing a moderately secure living salary, and that his mind was fully occupied with details which gave him no time to think about himself. He was in a large room surrounded by other men who were as sharp as knives in their thrusts of wit, and restless and greedy in their att.i.tude toward the world. They wanted to live brilliantly, just as he did, only they had more self-confidence and in many cases that extreme poise which comes of rare good health. They were inclined to think he was somewhat of a poseur at first, but later they came to like him--all of them. He had a winning smile and his love of a joke, so keen, so body-shaking, drew to him all those who had a good story to tell.

"Tell that to Witla," was a common phrase about the office and Eugene was always listening to someone. He came to lunching with first one and then another, then three or four at a time; and by degrees Angela was compelled to entertain Eugene and two or three of his friends twice and sometimes three times a week. She objected greatly, and there was some feeling over that, for she had no maid and she did not think that Eugene ought to begin so soon to put the burden of entertainment upon their slender income. She wanted him to make these things very formal and by appointment, but Eugene would stroll in genially, explaining that he had Irving Nelson with him, or Henry Hare, or George Beers, and asking nervously at the last minute whether it was all right. Angela would say, "Certainly, to be sure," in front of the guests, but when they were alone there would be tears and reproaches and firm declarations that she would not stand it.

"Well, I won't do it any more," Eugene would apologize. "I forgot, you know."

Still he wanted Angela to get a maid and let him bring all who would come. It was a great relief to get back into the swing of things and see life broadening out once more.

It was not so long after he had grown exceedingly weary of his underpaid relationship to the World that he heard of something which promised a much better avenue of advancement. Eugene had been hearing for some time from one source and another of the development of art in advertising. He had read one or two articles on the subject in the smaller magazines, had seen from time to time curious and sometimes beautiful series of ads run by first one corporation and then another, advertising some product. He had always fancied in looking at these things that he could get up a notable series on almost any subject, and he wondered who handled these things. He asked Benedict one night, going up on the car with him, what he knew about it.

"Why so far as I know," said Benedict, "that is coming to be quite a business. There is a man out in Chicago, Saljerian, an American Syrian--his father was a Syrian, but he was born over here--who has built up a tremendous business out of designing series of ads like that for big corporations. He got up that Molly Maguire series for the new cleaning fluid. I don't think he does any of the work himself. He hires artists to do it. Some of the best men, I understand, have done work for him. He gets splendid prices. Then some of the big advertising agencies are taking up that work. One of them I know. The Summerville Company has a big art department in connection with it. They employ fifteen to eighteen men all the time, sometimes more. They turn out some fine ads, too, to my way of thinking. Do you remember that Korno series?"--Benedict was referring to a breakfast food which had been advertised by a succession of ten very beautiful and very clever pictures.

"Yes," replied Eugene.

"Well, they did that."

Eugene thought of this as a most interesting development. Since the days in which he worked on the Alexandria Appeal he had been interested in ads. The thought of ad creation took his fancy. It was newer than anything else he had encountered recently. He wondered if there would not be some chance in that field for him. His paintings were not selling. He had not the courage to start a new series. If he could make some money first, say ten thousand dollars, so that he could get an interest income of say six or seven hundred dollars a year, he might be willing to risk art for art's sake. He had suffered too much--poverty had scared him so that he was very anxious to lean on a salary or a business income for the time being.

It was while he was speculating over this almost daily that there came to him one day a young artist who had formerly worked on the World--a youth by the name of Morgenbau--Adolph Morgenbau--who admired Eugene and his work greatly and who had since gone to another paper. He was very anxious to tell Eugene something, for he had heard of a change coming in the art directorship of the Summerville Company and he fancied for one reason and another that Eugene might be glad to know of it. Eugene had never looked to Morgenbau like a man who ought to be working in a newspaper art department. He was too self-poised, too superior, too wise. Morgenbau had conceived the idea that Eugene was destined to make a great hit of some kind and with that kindling intuition that sometimes saves us whole he was anxious to help Eugene in some way and so gain his favor.

"I have something I'd like to tell you, Mr. Witla," he observed.

"Well, what is it?" smiled Eugene.

"Are you going out to lunch?"

"Certainly, come along."

They went out together and Morgenbau communicated to Eugene what he had heard--that the Summerfield Company had just dismissed, or parted company with, or lost, a very capable director by the name of Freeman, and that they were looking for a new man.

"Why don't you apply for that?" asked Morgenbau. "You could hold it. You're doing just the sort of work that would make great ads. You know how to handle men, too. They like you. All the young fellows around here do. Why don't you go and see Mr. Summerfield? He's up in Thirty-fourth Street. You might be just the man he's looking for, and then you'd have a department of your own."

Eugene looked at this boy, wondering what had put this idea in his head. He decided to call up Dula and did so at once, asking him what he thought would be the best move to make. The latter did not know Summerville [sic], but he knew someone who did.

"I'll tell you what you do, Eugene," he said. "You go and see Baker Bates of the Satina Company. That's at the corner of Broadway and Fourth Street. We do a big business with the Satina Company, and they do a big business with Summerfield. I'll send a letter over to you by a boy and you take that. Then I'll call Bates up on the phone, and if he's favorable he can speak to Summerfield. He'll want to see you, though."

Eugene was very grateful and eagerly awaited the arrival of the letter. He asked Benedict for a little time off and went to Mr. Baker Bates. The latter had heard enough from Dula to be friendly. He had been told by the latter that Eugene was potentially a great artist, slightly down on his luck, but that he was doing exceedingly well where he was and would do better in the new place. He was impressed by Eugene's appearance, for the latter had changed his style from the semi-artistic to the practical. He thought Eugene looked capable. He was certainly pleasant.

"I'll talk to Mr. Summerfield for you," he said, "though I wouldn't put much hope in what will come of it if I were you. He's a difficult man and it's best not to appear too eager in this matter. If he can be induced to send for you it will be much better. You let this rest until tomorrow. I'll call him up on another matter and take him out to lunch, and then I'll see how he stands and who he has in mind, if he has anyone. He may have, you know. If there is a real opening I'll speak of you. We'll see."

Eugene went away once more, very grateful. He was thinking that Dula had always meant good luck to him. He had taken his first important drawing. The pictures he had published for him had brought him the favor of M. Charles. Dula had secured him the position that he now had. Would he be the cause of his getting this one?

On the way down town on the car he encountered a cross-eyed boy. He had understood from someone recently that cross-eyed boys were good luck--cross-eyed women bad luck. A thrill of hopeful prognostication pa.s.sed over him. In all likelihood he was going to get this place. If this sign came true this time, he would believe in signs. They had come true before, but this would be a real test. He stared cheerfully at the boy and the latter looked him full in the eyes and grinned.

"That settles it!" said Eugene. "I'm going to get it."

Still he was far from being absolutely sure.

CHAPTER x.x.xII.

The Summerfield Advertising Agency, of which Mr. Daniel C. Summerfield was president, was one of those curious exfoliations or efflorescences of the personality of a single individual which is so often met with in the business world, and which always means a remarkable individual behind them. The ideas, the enthusiasm, the strength of Mr. Daniel C. Summerfield was all there was to the Summerfield Advertising Agency. It was true there was a large force of men working for him, advertising canva.s.sers, advertising writers, financial accountants, artists, stenographers, book-keepers and the like, but they were all as it were an emanation or irradiation of the personality of Mr. Daniel C. Summerfield. He was small, wiry, black-haired, black-eyed, black-mustached, with an olive complexion and even, pleasing, albeit at times wolfish, white teeth which indicated a disposition as avid and hungry as a disposition well might be.

Mr. Summerfield had come up into his present state of affluence or comparative affluence from the direst poverty and by the directest route--his personal efforts. In the State in which he had originated, Alabama, his family had been known, in the small circle to which they were known at all, as poor white trash. His father had been a rather lackadaisical, half-starved cotton planter who had been satisfied with a single bale or less of cotton to the acre on the ground which he leased, and who drove a lean mule very much the worse for age and wear, up and down the furrows of his leaner fields the while he complained of "the misery" in his breast. He was afflicted with slow consumption or thought he was, which was just as effective, and in addition had hook-worm, though that parasitic producer of hopeless tiredness was not yet discovered and named.

Daniel Christopher, his eldest son, had been raised with scarcely any education, having been put in a cotton mill at the age of seven, but nevertheless he soon manifested himself as the brain of the family. For four years he worked in the cotton mill, and then, because of his unusual brightness, he had been given a place in the printing shop of the Wickham Union, where he was so attractive to the slow-going proprietor that he soon became foreman of the printing department and then manager. He knew nothing of printing or newspapers at the time, but the little contact he obtained here soon cleared his vision. He saw instantly what the newspaper business was, and decided to enter it. Later, as he grew older, he suspected that no one knew very much about advertising as yet, or very little, and that he was called by G.o.d to revise it. With this vision of a still wider field of usefulness in his mind, he began at once to prepare himself for it, reading all manner of advertising literature and practicing the art of display and effective statement. He had been through such bitter things as personal fights with those who worked under him, knocking one man down with a heavy iron form key; personal altercation with his own father and mother in which he frankly told them that they were failures, and that they had better let him show them something about regulating their hopeless lives. He had quarreled with his younger brothers, trying to dominate them, and had succeeded in controlling the youngest, princ.i.p.ally for the very good reason that he had become foolishly fond of him; this younger brother he later introduced into his advertising business. He had religiously saved the little he had earned thus far, invested a part of it in the further development of the Wickham Union, bought his father an eight acre farm, which he showed him how to work, and finally decided to come to New York to see if he could not connect himself with some important advertising concern where he could learn something more about the one thing that interested him. He was already married, and he brought his young wife with him from the South.

He soon connected himself as a canva.s.ser with one of the great agencies and advanced rapidly. He was so smiling, so bland, so insistent, so magnetic, that business came to him rapidly. He became the star man in this New York concern and Alfred Cookman, who was its owner and manager, was soon pondering what he could do to retain him. No individual or concern could long retain Daniel C. Summerfield, however, once he understood his personal capabilities. In two years he had learned all that Alfred Cookman had to teach him and more than he could teach him. He knew his customers and what their needs were, and where the lack was in the service which Mr. Cookman rendered them. He foresaw the drift toward artistic representation of saleable products, and decided to go into that side of it. He would start an agency which would render a service so complete and dramatic that anyone who could afford to use his service would make money.

When Eugene first heard of this agency, the Summerfield concern was six years old and rapidly growing. It was already very large and profitable and as hard and forceful as its owner. Daniel C. Summerfield, sitting in his private office, was absolutely ruthless in his calculations as to men. He had studied the life of Napoleon and had come to the conclusion that no individual life was important. Mercy was a joke to be eliminated from business. Sentiment was silly twaddle. The thing to do was to hire men as cheaply as possible, to drive them as vigorously as possible, and to dispose of them quickly when they showed signs of weakening under the strain. He had already had five art directors in as many years, had "hired and fired," as he termed it, innumerable canva.s.sers, ad writers, book-keepers, stenographers, artists--getting rid of anyone and everyone who showed the least sign of incapacity or inefficiency. The great office floor which he maintained was a model of cleanliness, order--one might almost say beauty of a commercial sort, but it was the cleanliness, order and beauty of a hard, polished and well-oiled machine. Daniel C. Summerfield was not much more than that, but he had long ago decided that was what he must be in order not to be a failure, a fool, and as he called it, "a mark," and he admired himself for being so.

When Mr. Baker Bates at Hudson Dula's request went to Mr. Summerfield in regard to the rumored vacancy which really existed, the latter was in a most receptive frame of mind. He had just come into two very important advertising contracts which required a lot of imagination and artistic skill to execute, and he had lost his art director because of a row over a former contract. It was true that in very many cases--in most cases, in fact--his customers had very definite ideas as to what they wanted to say and how they wanted to say it, but not always. They were almost always open to suggestions as to modifications and improvements, and in a number of very important cases they were willing to leave the entire theory of procedure to the Summerfield Advertising Company. This called for rare good judgment not only in the preparation, but in the placing of these ads, and it was in the matter of their preparation--the many striking ideas which they should embody--that the judgment and a.s.sistance of a capable art director of real imagination was most valuable.

As has already been said, Mr. Summerfield had had five art directors in almost as many years. In each case he had used the Napoleonic method of throwing a fresh, unwearied mind into the breach of difficulty, and when it wearied or broke under the strain, tossing it briskly out. There was no compunction or pity connected with any detail of this method. "I hire good men and I pay them good wages," was his favorite comment. "Why shouldn't I expect good results?" If he was wearied or angered by failure he was p.r.o.ne to exclaim--"These G.o.dd.a.m.ned cattle of artists! What can you expect of them? They don't know anything outside their little theory of how things ought to look. They don't know anything about life. Why, G.o.d d.a.m.n it, they're like a lot of children. Why should anybody pay any attention to what they think? Who cares what they think? They give me a pain in the neck." Mr. Daniel C. Summerfield was very much given to swearing, more as a matter of habit than of foul intention, and no picture of him would be complete without the interpolation of his favorite expressions.

When Eugene appeared on the horizon as a possible applicant for this delightful position, Mr. Daniel C. Summerfield was debating with himself just what he should do in connection with the two new contracts in question. The advertisers were awaiting his suggestions eagerly. One was for the nation-wide advertising of a new brand of sugar, the second for the international display of ideas in connection with a series of French perfumes, the sale of which depended largely upon the beauty with which they could be interpreted to the lay mind. The latter were not only to be advertised in the United States and Canada, but in Mexico also, and the fulfilment of the contracts in either case was dependent upon the approval given by the advertisers to the designs for newspaper, car and billboard advertising which he should submit. It was a ticklish business, worth two hundred thousand dollars in ultimate profits, and naturally he was anxious that the man who should sit in the seat of authority in his art department should be one of real force and talent--a genius if possible, who should, through his ideas, help him win his golden harvest.

The right man naturally was hard to find. The last man had been only fairly capable. He was dignified, meditative, thoughtful, with considerable taste and apprehension as to what the material situation required in driving home simple ideas, but he had no great imaginative grasp of life. In fact no man who had ever sat in the director's chair had ever really suited Mr. Summerfield. According to him they had all been weaklings. "Dubs; fakes; hot air artists," were some of his descriptions of them. Their problem, however, was a hard one, for they had to think very vigorously in connection with any product which he might be trying to market, and to offer him endless suggestions as to what would be the next best thing for a manufacturer to say or do to attract attention to what he had to sell. It might be a catch phrase such as "Have You Seen This New Soap?" or "Do You Know Soresda?--It's Red." It might be that a novelty in the way of hand or finger, eye or mouth was all that was required, carrying some appropriate explanation in type. Sometimes, as in the case of very practical products, their very practical display in some clear, interesting, attractive way was all that was needed. In most cases, though, something radically new was required, for it was the theory of Mr. Summerfield that his ads must not only arrest the eye, but fix themselves in the memory, and convey a fact which was or at least could be made to seem important to the reader. It was a struggling with one of the deepest and most interesting phases of human psychology.

The last man, Older Freeman, had been of considerable use to him in his way. He had collected about him a number of fairly capable artists--men temporarily down on their luck--who like Eugene were willing to take a working position of this character, and from them he had extracted by dint of pleading, cajoling, demonstrating and the like a number of interesting ideas. Their working hours were from nine to five-thirty, their pay meagre--eighteen to thirty-five, with experts drawing in several instances fifty and sixty dollars, and their tasks innumerable and really never-ending. Their output was regulated by a tabulated record system which kept account of just how much they succeeded in accomplishing in a week, and how much it was worth to the concern. The ideas on which they worked were more or less products of the brains of the art director and his superior, though they occasionally themselves made important suggestions, but for their proper execution, the amount of time spent on them, the failures sustained, the art director was more or less responsible. He could not carry to his employer a poor drawing of a good idea, or a poor idea for something which required a superior thought, and long hope to retain his position. Mr. Daniel C. Summerfield was too shrewd and too exacting. He was really tireless in his energy. It was his art director's business, he thought, to get him good ideas for good drawings and then to see that they were properly and speedily executed.

Anything less than this was sickening failure in the eyes of Mr. Summerfield, and he was not at all bashful in expressing himself. As a matter of fact, he was at times terribly brutal. "Why the h.e.l.l do you show me a thing like that?" he once exclaimed to Freeman. "Jesus Christ; I could hire an ashman and get better results. Why, G.o.d d.a.m.n it, look at the drawing of the arm of that woman. Look at her ear. Whose going to take a thing like that? It's tame! It's punk! It's a joke! What sort of cattle have you got out there working for you, anyhow? Why, if the Summerfield Advertising Company can't do better than that I might as well shut up the place and go fishing. We'll be a joke in six weeks. Don't try to hand me any such G.o.d d.a.m.ned tripe as that, Freeman. You know better. You ought to know our advertisers wouldn't stand for anything like that. Wake up! I'm paying you five thousand a year. How do you expect I'm going to get my money back out of any such arrangement as that? You're simply wasting my money and your time letting a man draw a thing like that. h.e.l.l!!"

The art director, whoever he was, having been by degrees initiated into the brutalities of the situation, and having--by reason of the time he had been employed and the privileges he had permitted himself on account of his comfortable and probably never before experienced salary--sold himself into bondage to his now fancied necessities, was usually humble and tractable under the most galling fire. Where could he go and get five thousand dollars a year for his services? How could he live at the rate he was living if he lost this place? Art directorships were not numerous. Men who could fill them fairly acceptably were not impossible to find. If he thought at all and was not a heaven-born genius serene in the knowledge of his G.o.d-given powers, he was very apt to hesitate, to worry, to be humble and to endure a good deal. Most men under similar circ.u.mstances do the same thing. They think before they fling back into the teeth of their oppressors some of the slurs and brutal characterizations which so frequently issue therefrom. Most men do. Besides there is almost always a high percentage of truth in the charges made. Usually the storm is for the betterment of mankind. Mr. Summerfield knew this. He knew also the yoke of poverty and the bondage of fear which most if not all his men were under. He had no compunctions about using these weapons, much as a strong man might use a club. He had had a hard life himself. No one had sympathized with him very much. Besides you couldn't sympathize and succeed. Better look the facts in the face, deal only with infinite capacity, roughly weed out the incompetents and proceed along the line of least resistance, in so far as your powerful enemies were concerned. Men might theorize and theorize until the crack of doom, but this was the way the thing had to be done and this was the way he preferred to do it.

Eugene had never heard of any of these facts in connection with the Summerfield Company. The idea had been flung at him so quickly he had no time to think, and besides if he had had time it would have made no difference. A little experience of life had taught him as it teaches everyone else to mistrust rumor. He had applied for the place on hearing and he was hoping to get it. At noon the day following his visit to Mr. Baker Bates, the latter was speaking for him to Mr. Summerfield, but only very casually.

"Say," he asked, quite apropos of nothing apparently, for they were discussing the chances of his introducing his product into South America, "do you ever have need of an art director over in your place?"

"Occasionally," replied Summerfield guardedly, for his impression was that Mr. Baker Bates knew very little of art directors or anything else in connection with the art side of advertising life. He might have heard of his present need and be trying to palm off some friend of his, an incompetent, of course, on him. "What makes you ask?"

"Why, Hudson Dula, the manager of the Triple Lithographic Company, was telling me of a man who is connected with the World who might make a good one for you. I know something of him. He painted some rather remarkable views of New York and Paris here a few years ago. Dula tells me they were very good."

"Is he young?" interrupted Summerfield, calculating.

"Yes, comparatively. Thirty-one or two, I should say."