XVII.
Mrs. Maybough had an apartment in the Mandan Flats, and her windows looked out over miles of the tinted foliage of the Park, and down across the avenue into one of the pretty pools which light up its woodland reaches. The position was superb, and the Mandan was in some sort worthy of it. The architect had done his best to give unity and character to its tremendous mass, and he had failed in much less measure than the architects of such buildings usually do. Cornelia dismounted into the dirty street in front of it from a shabby horse-car, and penetrated its dimmed splendors of mosaic pavement and polished granite pillars and frescoed vaults, with a heart fluttered by a hall-boy all over buttons, and a janitor in blue and silver livery, and an elevator-man in like keeping with American ideals. She was disgusted with herself that she should be so scared, and she was ashamed of the relief she felt when a servant in plain clothes opened Mrs. Maybough's door to her; she knew he must be a servant because he had on a dress-coat and a white tie, and she had heard the Burtons joke about how they were always taking the waiters for clergymen at first in Europe, He answered her with subdued respectfulness when she asked for the ladies, and then he went forward and for the first time in her life she heard her name called into a drawing-room, as she had read it was done in England, but never could imagine it. The man held aside the portière for her to pass, but before she could pass there came a kind of joyous whoop from within, a swishing of skirts toward her, and she was caught in the arms of Charmian, who kissed her again and again, and cried out over her goodness in coming.
"Why, didn't you expect me?" Cornelia asked bluntly.
"Yes, but I was just pretending you wouldn't come, or something had happened to keep you, so that I could have the good of the revulsion when you did come, and feel that it was worth all I had suffered. Don't you like to do that?"
"I don't believe I ever did it," said Cornelia.
"That's what makes you so glorious," Charmian exulted. "You don'tneedto do such things. You're equal to life as it comes. But I have to prepare myself for it every way I can. Don't you see?"
She led her, all embraced, into the drawing-room, where she released her to the smooth welcome of Mrs. Maybough. There was no one else in the vast, high room which was lit with long windows and darkened again with long, thick curtains, but was still light enough to let Cornelia see the elaborate richness of Mrs. Maybough's dress and the simple richness of Charmian's. She herself wore her street-dress and she did not know whether she ought to keep her hat on or not; but Charmian said she must pour tea with her, and she danced Cornelia down the splendid length of the three great salons opening into each other along the front of the apartment, toward her own room where she said she must leave it. The drawing-room was a harmony of pictures so rich and soft, and rugs so rich and soft, that the colors seemed to play from wall to floor and back again in the same mellow note; the dimness of the dining-room was starred with the glimmer of silver and cut-glass and the fainter reflected light of polished mahogany; the library was a luxury of low leather chairs and lounges, lurking window-seats, curtained in warm colors, and shelves full of even ranks of books in French bindings of blue and green leather. There was a great carved library table in front of the hearth where a soft-coal fire flickered with a point or two of flame; on the mantel a French clock of classic architecture caught the eye with the gleam of its pendulum as it vibrated inaudibly. It was all extremely well done, infinitely better done than Cornelia could have known. It was tasteful and refined, with the taste and refinement of the decorator who had wished to produce the effect of long establishment and well-bred permanency; the Mandan Flats were really not two years old, and Mrs. Maybough had taken her apartment in the spring and had been in it only a few weeks.
"Now all this ismamma," Charmian said, suffering Cornelia to pause for a backward glance at the rooms as she pushed open a door at the side of the library. "I simply endure it because it's in the bargain. But it's no more me than my gown is. This is where Istay, when I'm with mamma, but I'm going to show you where Ilive, where Idream." She glided down the electric-lighted corridor where they found themselves, and apologized over her shoulder to Cornelia behind her: "Of course, you can't have an attic in a flat; and anything like rain on the roof is practically impossible; but I've come as near to it as I could. Be careful! Here are the stairs." She mounted eight or ten steps that crooked upward, and flung wide a door at the top of the landing. It gave into a large room fronting northward and lighted with one wide window; the ceiling sloped and narrowed down to this from the quadrangular vault, and the cool gray walls rose not much above Cornelia's head where they met the roof. They were all stuck about with sketches in oil and charcoal. An easel with a canvas on it stood convenient to the light; a flesh-tinted lay-figure in tumbled drapery drooped limply in a corner; a table littered with palettes and brushes and battered tubes of color was carelessly pushed against the window; there were some lustrous rugs hung up beside the door; the floor was bare except for a great tiger-skin, with the head on, that sprawled in front of the fire-place. This was very simple, with rough iron fire-dogs; the low mantel was scattered with cigarettes, cigars in Chinese bronze vases at either end, and midway a medley of pipes, long-stemmed in clay and stubbed in briar-wood.
"Good gracious!" said Cornelia. "Do you smoke?"
"Not yet," Charmian answered gravely, "but I'm going to learn: Bernhardt does. These are just some pipes that I got the men at the Synthesis to give me; pipes are so full of character. And isn't this somethinglike?" She invited Cornelia to a study of the place by turning about and looking at it herself. "It seemed as if it neverwouldcome together, at one time. Everything was in it, just as it should be; and then I found it was the ridiculous ceiling that was the trouble. It came to me like a flash, what to do, and I got this canvas painted the color of the walls, and sloped so as to cut off half the height of the room; and now it's a perfect symphony. You wouldn't have thought it wasn't a real ceiling?"
"No, I shouldn't," said Cornelia, as much surprised as Charmian could have wished.
"You can imagine what a relief it is to steal away here from all that unreality of mamma's, down there, and give yourself up to the truth of art; I just draw a long breath when I get in here, and leave the world behind me. Why, when I get off here alone, for a minute, I unlace!"
Cornelia went about looking at the sketches on the walls; they were all that mixture of bad drawing and fantastic thinking which she was used to in the things Charmian scribbled over her paper at the Synthesis. She glanced toward the easel, but Charmian said, "Don't look at it! There's nothing there; I haven't decided what I shall do yet. I did think I should paint this tiger skin, but I don't feel easy painting the skin of a tiger I haven't killed myself. If I could get mamma to take me out to India and let me shoot one! But don't you think the whole place is perfect? I've tried to make it just what a studio ought to be, and yet keep it free from pose, don't you know?"
"Yes," said Cornelia. "I've never seen a studio, before."
"You poor thing, you don't mean it!" cried Charmian in deep pity. Cornelia said nothing, and Charmian went on with an air of candor, "Well, I haven't seen a great many myself—only two or three—but I know how they are, and it's easy enough to realize one. What I want is to have the atmosphere of art about me, all the time. I'm like a fish out of water when I'm out of the atmosphere of art. I intend to spend my whole time here when I'm not at the Synthesis."
"I should think it would be a good place to work," Cornelia conceded.
"Yes, and Iamgoing to work here," said Charmian. "The great trouble with me is that I have so many things in my mind I don't know which to begin on first. That's why the Synthesis is so good for me; it concentrates me, if itison a block hand.You'reconcentrated by nature, and so you can't feel what a glorious pang it is to be fixed to one spot like a butterfly with a pin through you. I don't see how I ever lived without the Synthesis. I'm going to have a wolf-hound—as soon as I can get a good-tempered one that the man can lead out in the Park for exercise—to curl up here in front of the fire; and I'm going to have foils and masks over the chimney. As soon as I'm a member of the Synthesis I'm going to get them to let me be one of the monitors: that'll concentrate me, if anything will, keeping the rest in order, and I can get a lot of ideas from posing the model; don't you think so? Butyou'vegot all the ideas you want, already. Aren't you going to join the sketch class?"
"I don't know but I am," said Cornelia. "I haven't got quite turned round yet."
"Well, you must do it. I'm going to have the class here, some day, as soon as I get the place inperfectorder. I must have a suit of Japanese armor for that corner, over there; and then two or three of those queer-looking, old, long, faded trunks, you know, with eastern stuffs gaping out of them, to set along the wall. I should be ashamed to have anybody see it now; but you have an eye, you can supply every thing with a glance. I'm going to have a bed made up in the alcove, over there, and sleep here, sometimes: just that broad lounge, you know, with some rugs on it—I've got the cushions, you see, already—and mice running over you, for the crumbs you've left when you've got hungry sitting up late. Are you afraid of mice?"
"Well, I shouldn't care to have them run over me, much," said Cornelia.
"Well, I shouldn't either," said Charmian, "but if you sleep in your studio, sometime youhaveto. They all do. Just put your hat in here," and she glided before Cornelia through the studio door into one that opened beside it. The room was a dim and silent bedchamber, appointed with the faultless luxury that characterized the rest of the apartment. Cornelia had never dreamt of anything like it, but "Don'tlook at it!" Charmian pleaded. "I hate it, and I'm going to get into the studio to sleep as soon as I've thought out the kind of hangings. Well, we shall have to hurry back now," but she kept Cornelia while she critically rearranged a ribbon on her, and studied the effect of it over her shoulder in the glass. "Yes," she said, with a deep sigh of satisfaction, "perfectly Roman! Gladys wouldn't have done for you. Cornelia was a step in the right direction; but it ought to have been Fulvia.
"'I should have clung to Fulvia's waist and thrustThe dagger through her side,'"
"'I should have clung to Fulvia's waist and thrustThe dagger through her side,'"
"'I should have clung to Fulvia's waist and thrust
The dagger through her side,'"
she chanted tragically; and she flung her arms about Cornelia for illustration. "Dream of Fair Women, you know. What part are you going to play, today?"
"What part?" Cornelia demanded, freeing herself, with her darkest frown of perplexity. "You're not going to have theatricals, I hope." She thought it was going pretty far to receive company Sunday afternoon, and if there was to be anything more she was ready to take her stand now.
Charmian gave a shout of laughter. "I wish we were. Then I could benatural. But I mean, what are you going to be: very gentle and mild and sweet and shrinking; or very philosophical and thoughtful; or very stately and cold and remote? You know you have to besomething. Don't you always plan out the character you want them to think you?"
"No," said Cornelia, driven to her bluntest by the discomfort she felt at such a question, and the doubt it cast her into.
Charmian looked at her gloomily. "You strange creature!" she murmured. "But I love you," she added aloud. "I simply idolize you!"
Cornelia said, half-laughing, "Don't be ridiculous," and pulled herself out of the embrace which her devotee had thrown about her. But she could not help liking Charmian for seeming to like her so much.
XVIII.
They still had some time with Mrs. Maybough, when they went back to her before any one else came; Cornelia could see that her features were rather small and regular, and that her hair was that sort of elderly blond in color which makes people look younger than they are after they have passed a certain age. She was really well on in the thirties when she went out to Leadville to take charge of Charmian Maybough's education from the New England town where she had always lived, and ended by marrying Charmian's father. At that time Andrew Maybough had already made and lost several fortunes without great depravation from the immoralities of the process; he remained, as he had always been, a large, loosely good-natured, casual kind of creature, of whom it was a question whether he would not be buried by public subscription, in the end; but he died so opportunely that he left the widow of his second marriage with the income from a million dollars, which she was to share during her lifetime with the child of his first. Mrs. Maybough went abroad with her step-daughter, and most of the girl's life had been spent in Europe.
There was a good deal of Dresden in their sojourn, something of Florence, necessarily a little of Paris; it was not altogether wanting in London, where Mrs. Maybough was presented at court. But so far as definitively materialized society was concerned, Europe could not be said to have availed. When she came back to her own country, it was without more than the hope that some society people, whom she had met abroad, might remember her.
"You'll see the greatest lot of frumps, if they ever do come," Charmian said to Cornelia, after her stepmother had made her excuses to Cornelia for her friends being rather late, "and I don't think they're half as uncertain to come as mamma does. Anyway, they're certain to stay, after they get here, till you want to rise up and howl."
"My dear!" said Mrs. Maybough.
"Oh, I don't suppose I evershallhowl. I'm too thoroughly subdued; and with Cornelia here to-day I shall be able to hold in. You're the first Synthesis girl," she frankly explained to Cornelia, "that mamma's ever let me have. She thinks they spend all their time drawing the nude."
Mrs. Maybough looked at Cornelia for the effect of this boldness upon her, and the girl frowned to keep herself from laughing, and then gave way. Mrs. Maybough smiled with a ladylike decorum which redeemed the excess from impropriety. Charmian seemed to know the bounds of her license, and as if Mrs. Maybough's smile had marked them, she went no farther, and her mother began softly to question Cornelia about herself. The girl perceived that Charmian had not told her anything quite right concerning her, but had got everything dramatically and picturesquely awry. She tried to keep Cornelia from setting the facts straight, because it took all the romance out of them, and she said she should always believe them as she had reported them. Cornelia knew from novels that they were very humble facts, but she was prepared to abide by them whatever a great society woman like Mrs. Maybough should think of them. Mrs. Maybough seemed to think none the worse of them in the simple angularity which Cornelia gave them.
Her friends began to come in at last, and Cornelia found herself, for the first time, in a company of those modern nomads whom prosperity and the various forms of indigestion have multiplied among us. They were mostly people whom Mrs. Maybough had met in Europe, drinking different waters and sampling divers climates, and they had lately arrived home, or were just going abroad, or to Florida, or Colorado, or California. The men were not so sick as the women, but they were prosperous, and that was as good or as bad a reason for their homelessness. They gradually withdrew from the ladies, and stirred their tea in groups of their own sex, and talked investments; sometimes they spoke of their diseases, or their hotels and steamers; and they took advice of each other about places to go to if they went in this direction or that, but said that, when it came to it they supposed they should go where their wives decided. The ladies spoke of where they had met last, and of some who had died since, or had got their daughters married; they professed a generous envy of Mrs. Maybough for being so nicely settled, and said that now they supposed she would always live in New York, unless, one of them archly suggested, her daughter should be carried off somewhere; if one had such a lovely daughter it was what one might expect to happen, any day.
XIX.
The part that Charmian had chosen to represent must have been that of an Egyptian slave. She served her mother's guests with the tea that Cornelia poured, in attitudes of the eldest sculptures and mural paintings, and received their thanks and compliments with the passive impersonality of one whose hope in life had been taken away some time in the reign of Thotmes II. She did not at once relent from her self-sacrificial conception of herself, even under the flatteries of the nice little fellow who had decorated the apartment for Mrs. Maybough, and had come to drink a cup of tea in the environment of his own taste. Perhaps this was because he had been one of the first to note the peculiar type of Charmian's style and beauty, and she wished to keep him in mind of it. He did duty as youth and gayety beside the young ladies at their tea-urn, and when he learned that Cornelia was studying at the Synthesis, he professed a vivid interest and a great pleasure.
"I want Huntley to paint Miss Maybough," he said. "Don't you think he would do it tremendously well, Miss Saunders?"
"Miss Saunders is going to paint me," said Charmian, mystically.
"As soon as I get to the round," said Cornelia to Charmian; she was rather afraid to speak to the decorator. "I suppose you wouldn't want to be painted with block hands."
The decorator laughed, and Charmian asked, "Isn't she nice not to say anything about a block head? Very few Synthesis girls could have helped it; it's one of the oldest Synthesis jokes."
The young man smiled sympathetically, and said he was sure they would not keep Miss Saunders long at the block. "There's a friend of mine I should like to bring here, some day."
"Mamma would be glad to see him," said Charmian. "Who is it?"
Somebody began to sing: a full-bodiced lady, in a bonnet, and with an over-arching bust distended with chest-notes, which swelled and sank tumultuously to her music; her little tightly-gloved hands seemed of an earlier period. Cornelia lost the name which Mr. Plaisdell gave, in the first outburst, and caught nothing more of the talk which Charmian dropped, and then caught up again when the hand-clapping began.
Some of the people went, and others came, with brief devoirs to Mrs. Maybough in the crepuscular corner where she sat. The tea circulated more and more; the babble rose and fell; it was all very curious to Cornelia, who had never seen anything like it before, and quite lost the sense of the day being Sunday. The stout lady's song had been serious, if not precisely devotional in character; but Cornelia could not have profited by the fact, for she did not know German. Mr. Plaisdell kept up his talk with Charmian, and she caught some words now and then that showed he was still speaking of his friend, or had recurred to him. "I'm rather dangerous when I get started on him. He's working out of his mannerisms into himself. He's a great fellow. I'm going to ask Mrs. Maybough." But he did not go at once. He drew nearer Cornelia, and tried to include her in the talk, but she was ashamed to find that she was difficult to get on common ground. She would not keep on talking Synthesis, as if that were the only thing she knew, but in fact she did not know much else in New York, even about art.
"Ah!" he broke off to Charmian, with a lift of his head. "That'stoobad! There he comes now, with Wetmore!"
Cornelia looked toward Mrs. Maybough with him. One gentleman was presenting another to Mrs. Maybough. They got through with her as quickly as most people did, and then they made their way toward Cornelia's table. She had just time to govern her head and hand into stony rigidity, when Wetmore came up with Ludlow, whom he introduced to Charmian. She was going to extend the acquaintance to Cornelia, but had no chance before Ludlow took Cornelia's petrified fingers and bowed over them. The men suppressed their surprise, if they had any, at this meeting as of old friends, but Charmian felt no obligation to silence.
"Where in the world have you met before? Why, Cornelia Saunders, why didn't you say you knew Mr. Ludlow?"
"I'm afraid I didn't give her time," Ludlow answered.
"Yes, but we were just speaking of you—Mr. Plaisdell was!" said Charmian, with the injury still in her voice.
"I didn't hear you speak of him," Cornelia said, with a vague flutter of her hands toward the teacups.
The action seemed to justify Wetmore to himself in saying, "Yes, thank you, Iwillhave some tea, Miss Saunders, and then I'll get some one to introduce me to you. You haven't seenmebefore, and I can't stand these airs of Ludlow's." He made them laugh, and Charmian introduced them, and Cornelia gave him his tea; then Charmian returned to her grievance and complained to Cornelia: "I thought you didn't know anybody in New York."
"Well, it seems you were not far wrong," Wetmore interposed. "I don't call Ludlow much of anybody."
"You don't often come down to anything as crude as that, Wetmore," Ludlow said.
"Not if I can help it. But I was driven to it, this time; the provocation was great."
"I had the pleasure of meeting Miss Saunders at home, several years ago," Ludlow said in obedience to Charmian. "We had some very delightful friends in common, there—old friends of mine—at Pymantoning."
"What a pretty name," said Mr. Plaisdell. "What a pity that none of our great cities happen to have those musical Indian names."
"Chicago," Wetmore suggested.
"Yes, Chicago is big, and the name is Indian; but is it pretty?"
"You can't have everything. I don't suppose it is very decorative."
"Pymantoning is as pretty as its name," said Ludlow. "It has the loveliness of a level, to begin with; we're so besotted with mountains in the East that we don't know how lovely a level is."
"The sea," Wetmore suggested again.
"Well, yes, that's occasionally level," Ludlow admitted. "But it hasn't got white houses with green blinds behind black ranks of maples in the moonlight."
"If 'good taste' could have had its way, the white house with green blinds would have been a thing of the past." said the decorator. "And they were a genuine instinct, an inspiration, with our people. The white paint is always beautiful,—as marble is. People tried to replace it with mud-color—the color of the ground the house was built on! I congratulate Miss Saunders on the conservatism of Py—?"
"Pymantoning," said Cornelia, eager to contribute something to the talk, and then vexed to have it made much of by Mr. Plaisdell.
Wetmore was looking away. He floated lightly off, with the buoyancy which is sometimes the property of people of his bulk, and Ludlow remained talking with Charmian. Then, with what was like the insensible transition of dreams to her, he was talking with Cornelia. He said he had been meaning to come and see her all the week past, but he had been out of town, and very busy, and he supposed she was occupied with looking about and getting settled. He did not make out a very clear case, she chose to think, and she was not sure but he was treating her still as a child, and she tried to think how she could make him realize that she was not. He seemed quite surprised to hear that she had been at work in the Synthesis ever since Tuesday. He complimented her energy, and asked, not how she was getting on there, but how she liked it; she answered stiffly, and she knew that he was ignoring her blunt behavior as something she could not help, and that vexed her the more; she wished to resist his friendliness because she did not deserve it. She kept seeing how handsome he was, with his brilliant brown beard, and his hazel eyes. There were points of sunny light in his eyes, when he smiled, and then his teeth shone very white. He did not smile very much; she liked his being serious and not making speeches; she wished she could do something to make him think her less of an auk, but when she tried, it was only worse. He did not say anything to let her think he had changed his mind as to the wisdom of her coming to study art in New York; and she liked that; she should have hated him if he had.
"Have you got that little Manet, yet?" Mr. Plaisdell broke in upon them. "I was telling Miss Maybough about it."
"Yes," said Ludlow. "It's at my place. Why won't Miss Maybough and Miss Saunders come and see it? You'll come, won't you, Miss Maybough?"
"If mamma will let me," said Charmian, meekly.
"Of course! Suppose we go ask her?"
The friends of Mrs. Maybough had now reduced themselves to Wetmore, who sat beside her, looking over at the little tea-table group. Ludlow led the rest toward her.
"What an imprudence," he called out, "when I'd just been booming you! Now you come up in person to spoil everything."
Ludlow presented his petition, and Mrs. Maybough received it with her provisional anxiety till he named the day for the visit. She said she had an engagement for Saturday afternoon, and Ludlow ventured, "Then perhaps you'd let the young ladies come with a friend of mine: Mrs. Westley. She'll be glad to call for them, I'm sure."
"Mrs. General Westley?"
"Yes."
"We met them in Rome," said Mrs. Maybough. "I shall be very happy, indeed, for my daughter. But you know Miss Saunders—is not staying with us?"
"Miss Saunders will be very happy for herself," said Charmian.
The men took their leave, and Charmian seized the first moment to breathe in Cornelia's ear: "Oh, what luck! I didn't suppose hewoulddo it, when I got Mr. Plaisdell to hint about that Manet. And it's all for you. Now come into my room and tell me everything about it. You have got to stay for dinner."
"No, no; I can't," Cornelia gasped. "And I'm not going to his studio. He asked me because he had to."
"I should think he didhaveto. He talked to you as if there was no one else here. Howdidyou meet him before?Whendid you?" She could not wait for Cornelia to say, but broke out with fresh astonishment. "Why, Walter Ludlow! Do you know who WalterLudlowis? He's one of the greatest painters in New York. He's the greatest!"
"Who is Mr. Wetmore?" Cornelia asked evasively.
"Don't name him in the same century! He's grand, too! Does those little Meissonier things. He's going to paint mamma. She's one of his types. He must have brought Mr. Ludlow to see me. But he didn't. He saw nobody but you! Oh Cornelia!" She caught Cornelia in her arms.
"Don't be a goose!" said Cornelia, struggling to get away.
"Will you tell me all about it, then?"
"Yes. But it isn't anything."
At the end of the story Charmian sighed, "How romantic! Of course, he's simply in a frenzy till he sees you again. I don't believe he can live through the week."
"He'll have to live through several," said Cornelia; "You can excuse me when you go. He's very conceited, and he talks to you as if he were a thousand years old. I think Mr. Plaisdell is a great deal nicer. He doesn't treat you as if you were—I don't know what!"
XX.
The next day Cornelia found herself the object of rumors that filled the Synthesis. She knew that they all came from Charmian, and that she could not hope to overtake them with denial. The ridiculous romances multiplied themselves, and those who did not understand that Cornelia and Ludlow had grown up together in the same place, or were first cousins, had been encouraged to believe that they were old lovers, who had quarrelled, and never spoken till they happened to meet at Mrs. Maybough's. Ludlow was noted for a certain reticence and austerity with women, which might well have come from an unhappy love-affair; once when he took one of the instructor's classes at the Synthesis temporarily, his forbidding urbanity was so glacial, that the girls scarcely dared to breathe in his presence, and left it half-frozen. The severest of the masters, with all his sarcasm, was simply nothing to him.
Cornelia liked to hear that. She should have despised Ludlow if she had heard he was silly with girls, and she did not wish to despise him, though she knew that he despised her; she could bear that. The Synthesis praises made her the more determined, however, to judge his recent work when she came to see it, just as she would judge any one's work. But first of all she meant not to see it.
She seemed to have more trouble in bringing herself back to this point than in keeping Charmian to it. Charmian came to believe her at last, after declaring it the rudest thing she ever heard of, and asking Cornelia what she expected to say to Mrs. Westley when she came for her. Cornelia could never quite believe it herself, though she strengthened her purpose with repeated affirmation, tacit and explicit, and said it would be very easy to tell Mrs. Westley she was not going, if she ever did come for her. She could not keep Charmian from referring the case to every one on the steps and window-sills in the Synthesis, and at the sketch-class, where Charmian published it the first time Cornelia came, and wove a romance from it which involved herself as the close friend and witness of so strange a being.
Cornelia tried not to let all this interfere with her work, but it did, and at the sketch-class where she might have shown some rebound from the servile work of the Preparatory, and some originality, she disappointed those whom Charmian had taught to expect anything of her. They took her rustic hauteur and her professed indifference to the distinction of Ludlow's invitation, as her pose. She went home from the class vexed to tears by her failure, and puzzled to know what she really should say to that Mrs. Westley when she came; it wouldn't be so easy to tell her she was not going, after all. Cornelia hated her, and wished she would not come; she had let the whole week go by, now, till Thursday, and perhaps she really would not come. The girl knew so little of the rigidity of city dates that she thought very likely Mrs. Westley had decided to put it off till another week.
She let herself into her boarding-house with her latch-key and stood confronted in the hall with Ludlow, who was giving some charge to the maid. "Oh, Miss Saunders," he said, and he put the card he held into his pocket, "I'm so glad not to miss you; I was just leaving a written message, but now I can tell you."
He hesitated, and Cornelia did not know what to do. But she said, "Won't you come in?" with a vague movement toward the parlor.
"Why, yes, thank you, for a moment," he said; and he went back with her.
"I hope I haven't kept you waiting," she said, with a severity which was for her own awkwardness.
He did not take it for himself. "Oh, no! I've just come from Mrs. Westley's, and she's charged me with a message for you." He handed Cornelia a note. "She will call for you and Miss Maybough at the Synthesis rather earlier than you usually leave work, I believe, but I want you to have some daylight on my Manet. I hope half-past two won't be too early?"
"Oh, no," said Cornelia, and while she wondered how she could make this opening of assent turn to refusal in the end, Ludlow went on:
"There's something of my own, that I'd like to have you look at. Of course, you won't get away with the Manet, alone; I don't suppose you expected that. I've an idea you can tell me where I've gone wrong, if I have; it's all a great while ago. Have you ever been at the County Fair at Pymantoning since——"
He stopped, and Cornelia perceived that it was with doubt whether it might not still be a tender point with her.
"Oh, yes, I've forgiven the Fair long ago." She laughed, and he laughed with her.
"It's best not to keep a grudge against a defeat, I suppose. If we do, it won't help us. I've had my quarrel with the Pymantoning County Fair, too; but it wasn't with the Fine Arts Committee."
"No, I didn't suppose you wanted to exhibit anything there," said Cornelia.
"Why, I don't know. It might be a very good thing for me. Why not? I'd like to exhibit this very picture there. It's an impression—not just what I'd do, now—of the trotting-match I saw there that day."
"Yes," said Cornelia, letting her eyes fall, "Mrs. Burton said you had painted it, or you were going to."
"Well, I did," said Ludlow, "and nobody seemed to know what I was after. I wonder if they would in Pymantoning! But what I wanted to ask was that you would try to look at it from the Pymantoning point of view. I hope you haven't lost that yet?"
"Well, I haven't been away such a great while," said Cornelia, smiling.
"No; but still, one sophisticates in New York very soon. I'll tell you what I've got a notion of! Well, it's all very much in the air, yet, but so far as I've thought it out, it's the relation of our art to our life. It sounds rather boring, I know, and I suppose I'm a bit of a theorist; I always was. It's easy enough to prove to the few that our life is full of poetry and picturesqueness; but can I prove it to the many? Can the people themselves be made to see it and feel it? That's the question. Can they be interested in a picture—a real work of art that asserts itself in a good way? Can they be taught to care for my impression of the trotting-match at the Pymantoning County Fair, as much as they would for a chromo of the same thing, and be made to feel that there was something more in it perhaps?"
He sat fronting her, with his head down over the hat he held between his hands; now he lifted his face and looked into hers. She smiled at his earnestness, and for a little instant felt herself older and wiser in her practicality.
"You might send it out to the next County Fair, and see."
"Why, that's just what I thought of!" he said, and he laughed. "Do you suppose they would let me exhibit it in the Fine Arts Department?"
"I don't believe they would give you the first premium," said Cornelia.
"Well, well, then I should have to put up with the second! I should like to get the first, I confess," Ludlow went on seriously. "The premium would mean something to me—not so much, of course, as a popular recognition. What do you think the chance of that would be?"
"Well, I haven't seen the picture yet," Cornelia suggested.
"Ah, that's true! I forgot that," he said, and they both laughed. "But what do you think of my theory? It seems to me," and now he leaned back in his chair, and smiled upon her with that bright earnestness which women always found charming in him, "it seems to me that the worst effect of an artist's life is to wrap him up in himself, and separate him from his kind. Even if he goes in for what they call popular subjects, he takes from the many and gives to the few; he ought to give something back to the crowd—he ought to give everything back. But the terrible question is whether they'll have it; and he has no means of finding out."
"And you've come to one of the crowd to inquire?" Cornelia asked. Up to that moment she had been flattered, too, by his serious appeal to her, and generously pleased. But the chance offered, and she perversely seized it.
He protested with a simple "Ah!" and she was ashamed.
"I don't know," she hurried on to say. "I never thought about it in that way."
"Well, it isn't so simple any more, after you once begin. I don't suppose I shall be at peace quite till I try what I can do; and seeing you Sunday brought Pymantoning all so freshly back, that I've been wondering, from time to time, ever since, whether you could possibly help me."
"I will try, as the good little boy said," Cornelia assented.
"It makes me feel like a good little boy to have asked it." Ludlow did not profit by the chance which the conclusion of their agreement offered him, to go. He stayed and talked on, and from time to time he recurred to what he had asked, and said he was afraid she would think he was using her, and tried to explain that he really was not, but was approaching her most humbly for her opinion. He could not make it out, but they got better and better acquainted in the fun they had with his failures. It went on till Cornelia said, "Now, really, if you keep it up, I shall have to stand you in the corner, with your face to the wall."
"Oh, do!" he entreated. "It would be such a relief."
"You know Iwasa teacher two winters," she said, "and have actually stood boys in corners."
That seemed to interest him afresh; he made her tell him all about her school-teaching. He stayed till the bell rang for dinner, and he suffered a decent moment to pass before he rose then.
"After all," he said at parting, "I think you'd better decide that it's merely my Manet you're coming to see."
"Yes, merely the Manet," Cornelia assented. "If I choose, the Ludlows will all be stood in the corners with their faces to the wall."
She found her own face very flushed, when she climbed up to her room for a moment before going in to dinner, and her heart seemed to be beating in her neck. She looked at Mrs. Westley's note. It stated everything so explicitly that she did not see why Mr. Ludlow need have come to explain. She remembered now that she had forgotten to tell him she was not going.
XXI.
Cornelia thought Mrs. Westley would come for Charmian and herself in her carriage; but when they went down to her in the Synthesis office, they found that she had planned to walk with them to Ludlow's studio. She said it was not a great way off; and she had got into the habit of walking there, when he was painting her; she supposed they would rather walk after their work. Cornelia said "Oh, yes," and Charmian asked, at her perfervidest, Had Mr. Ludlow paintedher? and Mrs. Westley answered calmly. Yes; she believed he did not think it very successful; her husband liked it, though. Charmian said, Oh, how much she should like to see it, and Mrs. Westley said she must show it her some time. Cornelia thought Mrs. Westley very pretty, but she decided that she did not care to see Ludlow's picture of her.
His studio stood a little back from the sidewalk; it was approached by a broad sloping pavement, and had two wide valves for the doorway. He opened the door himself, at their ring, and they found themselves in a large, gray room which went to the roof, with its vaulted ceiling; this was pierced with a vast window, that descended half-way down the northward wall. "My studio started in life as a gentleman's stable; then it fell into the hands of a sculptor, and then it got as low as a painter." He said to Charmian, "Mr. Plaisdell has told me how ingeniously you treated one of your rooms that you took for a studio."
Charmian answered with dark humility, "But a studio without a painter in it!" and there were some offers and refusals of compliment between them, which ended in his saying that he would like to see her studio, and her saying that Mrs. Maybough would always be glad to see him. Then he talked with Mrs. Westley, who was very pleasant to Cornelia while the banter with Charmian went on, and proposed to show his pictures; he fancied that was what he had got them there, for; but he would make a decent pretence of the Manet, first.
The Manet was one of that painter's most excessive; it was almost insolent in its defiance of the old theory and method of art. "He had to go too far, in those days, or he wouldn't have arrived anywhere," Ludlow said, dreamily, as he stood looking with them at the picture. "He fell back to the point he had really meant to reach." He put the picture away amidst the sighs and murmurs of Mrs. Westley and Charmian, and the silence of Cornelia, which he did not try to break. He began to show his own pictures, taking them at random, as it seemed, from the ranks of canvasses faced against the wall. "You know we impressionists are nothing if not prolific," he said, and he kept turning the frame on his easel, now for a long picture, and now for a tall one. The praises of the others followed him, but Cornelia could not speak. Some of the pictures she did not like; some she thought were preposterous; but there were some that she found brilliantly successful, and a few that charmed her with their delicate and tender poetry. He said something about most of them, in apology or extenuation; Cornelia believed that she knew which he liked by his not saying anything of them.
Suddenly he set a large picture on the easel that quite filled the frame. "Trotting Match at the Pymantoning County Fair," he announced, and he turned away and began to make tea in a little battered copper kettle over a spirit-lamp, on a table strewn with color-tubes in the corner.
"Ah, yes," said Mrs. Westley. "I remember this at the American Artists; three or four years ago, wasn't it? But you've done something to it, haven't you?"
"Improved with age," said Ludlow, with his back toward them, bent above his tea-kettle. "That's all."
"It seems like painting a weed, though," said Charmian. "How can you care for such subjects?"
Ludlow came up to her with the first cup of tea. "It's no use to paint lilies, you know."
"Do you call that an answer?"
"A poor one."
He brought Mrs. Westley some tea, and then he came to Cornelia with a cup in each hand, one for her, and one for himself, and frankly put himself between her and the others. "Well, what do you think of it?" he asked, as if there were no one else but they two.
She felt a warm flush of pleasure in his boldness. "I don't know. It's like it; that's the way I've always seen it; and it's beautiful. But somehow——"
"What?"
"It looks as if it were somewhere else."
"You've hit it," said Ludlow. "It serves me right. You see I was so anxious to prove that an American subject was just as susceptible of impressionistic treatment as a French one, that I made this look as French as I could. I must do it again and more modestly; not be so patronizing. I should like to come out there next fall again, and see another trotting-match. I suppose they'll have one?"
"They always have them; it wouldn't be the Fair without them," said Cornelia.
"Well, I must come, and somehow do it on the spot; that's the only way." He pulled himself more directly in front of her and ignored the others, who talked about his picture with faded interest to each other, and then went about, and looked at the objects in the studio. "I don't think I made myself quite clear the other day, about what I wanted to do in this way." He plunged into the affair again, and if Cornelia did not understand it better, it was not for want of explanation. Perhaps she did not listen very closely. All the time she thought how brilliantly handsome he was, and how fine, by every worldly criterion. "Yes," he said, "that is something I have been thinking of ever since my picture failed with the public; it deserved to fail, and you've made it so clear why, that I can't refuse to know, or to keep myself in the dark about it any longer. I don't believe we can take much from the common stock of life in any way, and find the thing at all real in our hands, without intending to give something back. Do you?"
Cornelia had never thought about it before; she did not try to pretend that she had; it seemed a little fantastic to her, but it flattered her to have him talk to her about it, and she liked his seriousness. He did not keep up the kind of banter with her that he did with Charmian; he did not pay her compliments, and she hated compliments from men.
Ludlow went off to speak to Mrs. Westley of something he saw her looking at; Charmian edged nearer to Cornelia. "I would give the world to be in your place. I never saw anything like it. Keep on looking just as you are! It's magnificent. Such color, and that queenly pose of the head! It would kill those Synthesis girls if they knew how he had been talking to you. My, if I could get anybody to be serious withme! Talk! Say something!Do you think its going to rain before we get home?His eyes keep turning this way, all the time; you can't see them, but they do.I am glad I brought my umbrella. Have you got your waterproof?I'm going to make you tell me every word he said when he came to see you yesterday; it'll be mean if you don't.No, I think I shall go up by the elevated, and then take the surface-car across.It's the most romantic thing I ever heard of.No, I don't believe it will be dark.Speak! Say something! You mustn't let me do all the talking; he'll notice."
Cornelia began to laugh, and Charmian turned away and joined Mrs. Westley and Ludlow, who were tilting outward some of the canvasses faced against the wall, and talking them over. Cornelia followed her, and they all four loitered over the paintings, luxuriously giving a glance at each, and saying a word or two about it. "Yes," Ludlow said, "sometimes I used to do three or four of them a day. I work more slowly now; if you want to get any thinking in, you've got to take time to it."
It was growing dark; Ludlow proposed to see them all home one after another. Mrs. Westley said no, indeed; the Broadway car, at the end of the second block, would leave her within three minutes of her door.
"And nothing could happen in three minutes," said Ludlow. "That stands to reason."
"Andmyone luxury is going home alone," said Charmian. "Mamma doesn't allow it, except to and from the Synthesis. Then I'm an art student and perfectly safe. If I were a young lady my life wouldn't be worth anything."
"Yes," Ludlow assented, "the great thing is to have some sort of business to be where you are."
"I know a girl who's in some of the charities, and she goes about at all hours of the night, and nobody speaks to her," said Charmian.
"Well, then," said Ludlow, "I don't see that there's anything for me to do, unless we all go together with Mrs. Wesley to get her Broadway car, and then keep on to the Elevated with you, Miss Maybough. Miss Saunders may be frightened enough then to let me walk to her door with her. A man likes to be of some little use in the world."
They had some mild fun about the weakness of Cornelia in needing an escort. She found it best to own that she did not quite know her way home, and was afraid to ask if she got puzzled.
Ludlow put out his spirit-lamp, which had been burning blue all the time, and embittering the tea in the kettle over it, and then they carried out their plan. Cornelia went before with Mrs. Westley, who asked her to come to her on her day, whenever she could leave her work for such a reckless dissipation. At the foot of the Elevated station stairs, where Charmian inflexibly required that they should part with her, in the interest of the personal liberty which she prized above personal safety, she embraced Cornelia formally, and then added an embrace of a more specific character, and whispered to her ear, "You're glorious!" and fled up the station stairs.
Cornelia understood that she was glorious because Mr. Ludlow was walking home with her, and that Charmian was giving the fact a significance out of all reason. They talked rather soberly, as two people do when a gayer third has left them, and they had little silences. They spoke of Charmian, and Cornelia praised her beauty and her heart, and said how everybody liked her at the Synthesis.
"Do they laugh at her a little, too?" Ludlow asked.
"Why?"
"She's rather romantic."
"Oh, I thought all girls were romantic."
"Yes? You're not."
"What makes you think so?" asked the girl. "I'm a great deal more romantic than is good for me. Don't you like romantic people? I do!"
"I don't believe I do," said Ludlow. "They're rather apt to make trouble. I don't mean Miss Maybough. She'll probably take it out in madly impossible art. Can she draw?"
Cornelia did not like to say what she thought of Charmian's drawing, exactly. She said, "Well, I don't know."
Ludlow hastened to say, "I oughtn't to have asked that about your friend."
"We're both in the Preparatory, you know," Cornelia explained. "I think Charmian has a great deal of imagination."
"Well, that's a good thing, if it doesn't go too far. Fortunately it can't, in the Preparatory."
At her door Cornelia did not know whether to ask him in, as she would have done in Pymantoning; she ended by not even offering him her hand; but he took it all the same, as if he had expected her to offer it.