LITMIR.BIZ

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it. I went to a studio tea once, and——"

      "A studio tea! Merciful heavens—— Go on."

      "Yes, a studio tea. Don't you like them? To be sure, we didn't know whether the man could paint very well, and I suppose you think it is an imposition for anyone who is not a great painter to give a tea."

      "Go on."

      "Well, he had the dearest little Japanese servants, and some of the cups came from Algiers, and some from Turkey, and some from—— What's the matter?"

      "Go on. I'm not interrupting you."

      "Well, that's all; excepting that everything was charming in colour, and I thought what a lazy, beautiful life the man must lead, lounging in such a studio, smoking monogrammed cigarettes, and remarking how badly all the other men painted."

      "Very fascinating. But——"

      "Oh! you are going to ask if he could draw. I'm sure I don't know, but the tea that he gave was charming."

      "I was on the verge of telling you something about artist life, but if you have seen a lot of draperies and drunk from a cup of Algiers, you know all about it."

      "You, then, were going to make it something very terrible, and tell how young painters struggled, and all that."

      "No, not exactly. But listen: I suppose there is an aristocracy who, whether they paint well or paint ill, certainly do give charming teas, as you say, and all other kinds of charming affairs too; but when I hear people talk as if that was the whole life, it makes my hair rise, you know, because I am sure that as they get to know me better and better they will see how I fall short of that kind of an existence, and I shall probably take a great tumble in their estimation. They might even conclude that I can not paint, which would be very unfair, because I can paint, you know."

      "Well, proceed to arrange my point of view, so that you sha'n't tumble in my estimation when I discover that you don't lounge in a studio, smoke monogrammed cigarettes, and remark how badly the other men paint."

      "That's it. That's precisely what I wish to do."

      "Begin."

      "Well, in the first place——"

      "In the first place—what?"

      "Well, I started to study when I was very poor, you understand. Look here! I'm telling you these things because I want you to know, somehow. It isn't that I'm not ashamed of it. Well, I began very poor, and I—as a matter of fact—I—well, I earned myself over half the money for my studying, and the other half I bullied and badgered and beat out of my poor old dad. I worked pretty hard in Paris, and I returned here expecting to become a great painter at once. I didn't, though. In fact, I had my worst moments then. It lasted for some years. Of course, the faith and endurance of my father were by this time worn to a shadow—this time, when I needed him the most. However, things got a little better and a little better, until I found that by working quite hard I could make what was to me a fair income. That's where I am now, too."

      "Why are you so ashamed of this story?"

      "The poverty."

      "Poverty isn't anything to be ashamed of."

      "Great heavens! Have you the temerity to get off that old nonsensical remark? Poverty is everything to be ashamed of. Did you ever see a person not ashamed of his poverty? Certainly not. Of course, when a man gets very rich he will brag so loudly of the poverty of his youth that one would never suppose that he was once ashamed of it. But he was."

      "Well, anyhow, you shouldn't be ashamed of the story you have just told me."

      "Why not? Do you refuse to allow me the great right of being like other men?"

      "I think it was—brave, you know."

      "Brave? Nonsense! Those things are not brave. Impression to that effect created by the men who have been through the mill for the greater glory of the men who have been through the mill."

      "I don't like to hear you talk that way. It sounds wicked, you know."

      "Well, it certainly wasn't heroic. I can remember distinctly that there was not one heroic moment."

      "No, but it was—it was——"

      "It was what?"

      "Well, somehow I like it, you know."

      CHAPTER XXX.

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      "There's three of them," said Grief in a hoarse whisper.

      "Four, I tell you!" said Wrinkles in a low, excited tone.

      "Four," breathed Pennoyer with decision.

      They held fierce pantomimic argument. From the corridor came sounds of rustling dresses and rapid feminine conversation.

      Grief had kept his ear to the panel of the door. His hand was stretched back, warning the others to silence. Presently he turned his head and whispered, "Three."

      "Four," whispered Pennoyer and Wrinkles.

      "Hollie is there, too," whispered Grief. "Billie is unlocking the door. Now they're going in. Hear them cry out, 'Oh, isn't it lovely!' Jinks!" He began a noiseless dance about the room. "Jinks! Don't I wish I had a big studio and a little reputation! Wouldn't I have my swell friends come to see me, and wouldn't I entertain 'em!" He adopted a descriptive manner, and with his forefinger indicated various spaces of the wall. "Here is a little thing I did in Brittany. Peasant woman in sabots. This brown spot here is the peasant woman, and those two white things are the sabots. Peasant woman in sabots, don't you see? Women in Brittany, of course, all wear sabots, you understand. Convenience of the painters. I see you are looking at that little thing I did in Morocco. Ah, you admire it? Well, not so bad—not so bad. Arab smoking pipe, squatting in doorway. This long streak here is the pipe. Clever, you say? Oh, thanks! You are too kind. Well, all Arabs do that, you know. Sole occupation. Convenience of the painters. Now, this little thing here I did in Venice. Grand Canal, you know. Gondolier leaning on his oar. Convenience of the painters. Oh, yes, American subjects are well enough, but hard to find, you know—hard to find. Morocco, Venice, Brittany, Holland—all oblige with colour, you know—quaint form—all that. We are so hideously modern over here; and, besides, nobody has painted us much. How the devil can I paint America when nobody has done it before me? My dear sir, are you aware that that would be originality? Good heavens! we are not æsthetic, you understand. Oh, yes, some good mind comes along and understands a thing and does it, and after that it is æsthetic. Yes, of course, but then—well—— Now, here is a little Holland thing of mine; it——"

      The others had evidently not been heeding him. "Shut up!" said Wrinkles suddenly. "Listen!" Grief paused his harangue and they sat in silence, their lips apart, their eyes from time to time exchanging eloquent messages. A dulled melodious babble came from Hawker's studio.

      At length Pennoyer murmured wistfully, "I would like to see her."

      Wrinkles started noiselessly to his feet. "Well, I tell you she's a peach. I was going up the steps, you know, with a loaf of bread under my arm, when I chanced to look up the street and saw Billie and Hollanden coming with four of them."

      "Three," said Grief.

      "Four; and I tell you I scattered. One of the two with Billie was a peach—a peach."

      "O, Lord!" groaned the others enviously. "Billie's in luck."

      "How do you know?" said Wrinkles. "Billie is a blamed good fellow, but that doesn't say she will care for him—more likely that she won't."

      They sat again in silence, grinning, and listening to the murmur of voices.

      There came the sound of a step in the hallway. It ceased at a point opposite the door of Hawker's studio. Presently it was heard again. Florinda entered the den. "Hello!" she cried, "who is over in Billie's place? I was just going to

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