"Ah," said Ling Hop, "delicate--delicate!" the adjective being p.r.o.nounced with a haunting repet.i.tion of its most melodious letter. Years of more or less familiarity with the English language had not been able to efface his racial penchant for the l.a.b.i.al. One might naturally suppose that to compress a native alphabet of some one hundred and twenty-six letters into one of twenty-six would result in much confusion and some inexplicable preferences, but no one has ever been able to point out why the functions of the extra hundred should have to be a.s.sumed by the letter "l" alone.

But to Pelgram the vague liquid sound fell dulcetly on the ear, and by Miss Long and Miss Heatherton no flaw in this art criticism could be discerned. And the artist, glancing about him, saw with gratification that, in addition to the two young ladies, there had by some vague current of motion been swept into his immediate vicinity human flotsam to the extent of perhaps half a dozen irresponsible souls, ignorant that their immediate fate was to be not guests, but auditors.

"Do you feel that? I strove for it," he said in a clear, penetrating voice, calculated to attract the attention, if not the interest, of those even outside the charmed though widening circle. "I strove for just that, feeling that here, above all, it was the one desideratum. At times I feared--" he turned to the impa.s.sive Mongolian a puckered forehead--"that I might be sacrificing somewhat of the virile. But no!

I said--surely I can sacrifice all things, all considerations, save one."

"You were right," said Ling Hop, cryptically, feeling that he was called upon to say something, but still with that faint adumbration of the inevitable letter.

"In these days of strange, wild G.o.ds, in whose temples the heathen riot in flames and flares and orgies of color, it seems to me inc.u.mbent upon the saner among the craft to cling perhaps closer than ever to the great canons that the great masters have set forth for us. What do these new men worship? Color--color--blobs and blotches of raw, crude color! They think of nothing else, these barbarians. Let drawing, arrangement, construction even, go--they say--and with bloodshot eyes they dance in one wild debauch of life and light! It is not art!"

Casting an imperceptibly alert eye to right and left, Pelgram saw that he was now in possession of the maximum audience he was likely to achieve.

In a near-by corner, blockaded by three attentive gentlemen who seemed much less interested in art than in nature, sat Miss Maitland, within easy though obstructed earshot. She could hardly help hearing, and with an inward sigh of satisfaction the artist gave himself over utterly to the exordium which for some inexplicable reason formed the nucleus of his idea of a properly conducted studio affair. He felt that he was going to be very eloquent, and he felt reasonably secure from interruption, for no one in that company would have the temerity to question, on his own hearthstone, his p.r.o.nunciamentos. No one,--except perhaps the irrepressible Wilkinson,--and it was with the greatest relief that he beheld Charlie safely out of hearing and engaged in rapt converse with Isabel.

"Yes, those of us who believe, who still hold the immortal things sacred, have a great trust vested in us. It is for us, the few still faithful, to keep the l.u.s.tral fires pure from defilement by the unbelievers. What would the great draughtsmen of old, the great true colorists among the masters, say if we should betray them to the wild, criminal vagaries of these falsest of false prophets?"

He turned savagely upon Ling Hop, who replied, with entire truth, and with a certain feeling for caution which showed that he could be trusted in any crisis:--

"Yes. What?"

"They swarm with muddy feet through the safest, surest halls of art of all time. They do not hesitate to say that arrangement--arrangement!--is not a necessity in a work of art. They say construction is not vital.

They care nothing of whether nature at the moment is right or wrong--whether there is a combination of circ.u.mstances worthy of reproduction--but they throw their pictures on the canvas in any way they chance to come. And what pictures! Raw, flaunting things, with no care given to balance, none to line, none to color! It would be unbelievable--if it were not true."

Miss Heatherton, on whom his inspired gaze at this juncture rested, closed her eyes, as though she feared to disturb even by a glance the continuity of this astonishing harangue. At the footstool of Olympus sat Miss Long, in patient ecstasy.

"These painters--anarchists of the craft, I call them--would force us to leave off painting quiet interiors," continued Pelgram, lowering his voice with mournful impressiveness, "because, forsooth, interiors are inane, undramatic things unless relieved by color! Not _our_ color, but the bright, blazing color that roars and raves. Still-lifes they condemn unless they swim in seas of pure emotion. For with them color is emotion, emotion color. . . . To be sure, _we_ know better, but I repeat that a heavy charge is on us. We must march loyally forward, keeping our banners high. We must go on painting a modest lady, dressed in dark blue, sitting on a gray chair with a shiny wooden floor beneath her--to show that these things can sometimes make an artistic harmony worthy of being translated for all time into a picture that shall never die. What if this has been done ten thousand times before? The old G.o.ds are jealous G.o.ds, and at the ten thousandth time they take their own at last."

"Yes. At last," said Ling Hop, observing that a response was expected of him.

Pelgram turned to the portrait.

"And this!--portrait painting!--to which all the masters finally turn.

What would _they_--these colorists--make out of portrait painting?"

Evidently his mind recoiled from the thought, for he turned aside with a gesture of resignation. And Miss Long and Miss Heatherton were never to know what horrid fate awaited portrait painting at _their_ hands, for from the rim of the circle came the cheerful voice of Wilkinson:--

"Money, old chap, money. That's what they'd make out of portrait painting. And after all, that's the only satisfactory standard of success, established for every school of art--what will the picture bring? Now isn't that so?"

Pelgram's upper lip drew viciously back from his teeth; Wilkinson, pleasantly advancing, smiled with content; the flotsam had floated away as noiselessly as youth; and the artist, collecting his forces to reply, saw that, except for the two rapt sycophants at his elbow, he was alone.

He laughed a short laugh.

"With many, no doubt it is," he snapped.

His adversary continued his placid progress down the room until he reached the tea table, where immediately he could be heard inquiring whether the diminutive "arrangements in green and white" were intended for lettuce sandwiches.

Pelgram glanced quickly toward where Miss Maitland still sat, surrounded by her attentive friends. It seemed hardly likely that she could have missed Charlie's distressing incursion into a monologue to which he had not been invited, but the girl seemed so wholly occupied that the painter took heart. His ruffled self-esteem preened itself anew, and he moved circuitously toward the object of his concern in as disinterested a manner as he could a.s.sume. At the sight of their host, the other members of Miss Maitland's group took occasion inconspicuously to drift away, being moved either by hunger or by good nature or by fear lest the monologue recommence. All but one obtuse youth who neither stirred nor displayed any tendency so to do.

"Before you go I want to show you that full length of Mrs. Warburton,"

the artist suggested pointedly to Helen. Her only att.i.tude was affable resignation; she accepted the inevitable as gracefully as possible, and they strolled across the end of the studio to an alcove where a number of canvases stood coyly awaiting beholders. Several tall potted plants nearly hid the alcove from the studio at large, and Pelgram noted with satisfaction that the remaining guests were mostly grouped about Wilkinson at the other end. He turned, to gain time for thought, to the pile of frames in the corner, and presently pulled forth the portrait of which he had spoken.

"Not so interesting an arrangement as I made of you," he commented.

"I might just as well have been a sandwich," was the girl's immediate thought, but she replied politely, "No."

"I would certainly have been hopelessly lacking in talent of any sort if I had not been able to do something really fine from the chance you offered me," he went on.

Feeling quite uncomfortable and not knowing exactly what to say to this, Helen said nothing. The artist, a.s.suming that her silence implied her permission for him to continue, cleared his throat for what he felt should be a master effort.

"Miss Maitland," he said, regarding her gravely, "it is naturally not for me to say, but I sincerely believe that your portrait is a work of real merit. And whatever slight ability I may possess has of course been freely spent on it. But there is something else to consider--there is ability, but there is also the element of inspiration, and whatever I may have lacked in the one you have bountifully given me in the other. If others should think the portrait a success, I must thank not myself but you. And beyond the success of the picture itself, which at best can only be for a day, you have given me what no one ever gave me before--you must know what that may be."

"You are entirely welcome, I'm sure," his visitor replied, in considerable embarra.s.sment. It was not exactly what she meant to say, and the egotism of the artist immediately misconstrued it.

"Helen," he said, "the painting of your portrait has been a perilous adventure for me. Up to the time I began it, I lived in a world alone, and I thought only of my art. My model was always a thing wholly subordinate; after the picture was completed I never cared whether I ever saw the subject again. But as you came here day after day, my art seemed of less importance, and you came forward more and more. And finally I have found that nothing matters--nothing counts--but you."

Miss Maitland did not answer. She was conscious only of wondering whether she were going to be able to escape from that alcove before she had expressed to her host her actual opinion of him and all his works, and she rather feared her powers of repression would prove unequal to the occasion. And her opinion of him was at its nadir. With unerring maladroitness Pelgram had chosen the time of all others when his star was burning with its feeblest flame. She continued to sit pa.s.sively, while the waves of the artist's eloquence rolled over her.

"I will not ask you if you love me--it is enough to tell you that I love you more than all the world. But can you not give me one single word of hope?"

He paused expectantly.

Helen hesitated. Still persisted the naughty longing to break forth and say her will, but she knew it would be wrong. After all, there had been in Pelgram's plea as much genuine sincerity as there could be in anything of his, and she felt that her wish to be utterly candid was a childish and unworthy one.

"Mr. Pelgram," she said at length, "if I should give you any hope, it would be unjust and unkind to you, for I feel that I could never care for you in the way you wish me to. I respect your ability, but that is not enough. Please do not speak of this again. You are an artist, and there ought to be for you enough in the world to keep you happy--even without me."

Pelgram grew a little pale. To him, who had such difficulty in being real, this was very real. And seeing it, the girl softened.

"I'm sorry," she said. "I'm really more sorry than I can tell you."

And then she had cause for repentance, for the artist, with an effort, drew all his pride to aid him. And his proud mood was by no means his best. The only redeeming feature of the valedictory was that finally it was over.

Helen, looking a trifle jaded, walked homeward under the escort of Isabel and Wilkinson. She was quite silent, and Isabel, suspecting trouble, said little for her part.

Not so Charlie, who held forth fluently, with the exhilaration one feels on coming out of a hot church and dashing off in a touring car.

"Well," he said, "certain unfriendly persons have studiously circulated the impression that I am eligible for the Paresis Club--a chucklehead, in fact. But you will have to admit that I never give Private Views. You must concede that I do not inflict on my friends my opinions about crude color. Why, there must be several hundred things I don't do!"

"Thank Heaven you don't!" remarked Miss Maitland.

CHAPTER VII

It was one minute before eleven when the card of Mr. Charles Wilkinson was borne gingerly, by a large youth from South Framingham who served as door boy, into the presence of Mr. Hurd. That gentleman, reading the bit of pasteboard with a grunt which might have been indicative of any one of a dozen invidious sentiments, opened the proximate corner of his mouth.

"Send him in," came from the brief orifice.

A moment later Mr. Wilkinson stood in the presence of his prey. Or perchance--but no, this was to be Marengo, not Waterloo--and above all, not Moscow. Something of this was in his eyes when he lifted them to meet those of his distinguished relation.