Then he hunted up a pretty young married woman occupying the dead-centre of the sanctified social circle, went into spasms over her beauty--so classic, such an exquisite outline; grew confidential with the husband at the club, and begged permission to make just a sketch only the size of his hand--wanted it for his head of Sappho, Berlin Exhibition. Next he rented a suite of rooms, crowded in a lot of borrowed tapestries, brass, Venetian chests, lamps and hangings; gave a tea--servants this time in livery--exhibited his Sappho; refused a big price for it from the husband; got orders instead for two half-lengths, $1,500 each, finished them in two weeks, declined more commissions on account of extreme fatigue; disappeared with the first frost and the best cottage people; booked three more full-lengths in New York --two to be painted in Paris and the other on his return in the spring; was followed to the steamer by a bevy of beauties, half-smothered in flowers, and disappeared in a halo of artistic glory just $4,000 in."
Fred broke out into a roar, in which the whole room joined.
"And you call that art, do you?" cried Munson, laying down his palette. His face was flushed, his eyes snapping with indignation.
"I do, my babbling infant," retorted Waller. "I call it the art of making the most of your opportunities and putting your best foot foremost. That's a thing you fellows never seem to understand. You want to shuffle around in carpet-slippers, live in a garret, and wait until some money-bags climbs up your crazy staircases to discover you. Ridgway puts. his foot in a patent-leather pump and silk stocking, and never steps on a carpet that isn't two inches thick.
Merchants, engineers, manufacturers, and even scientists, when they have anything to sell, go where there is somebody to buy; why shouldn't an artist?"
"Just like a fakir peddling cheap jewelry," said Stedman, in a low voice, sending a cloud of smoke to the ceiling.
"Or a bunco-man trading watches with a farmer," remarked Jack Bedford. "What do you say, My Lord Tom-Noddy"--and he slapped Oliver on the back. The sobriquet was one of Jack's pet names for Oliver--all the Kennedy Square people were more or less aristocrats to Jack Bedford, the sign-painter--all except Oliver.
"I think Waller's about half-right, Jack. As far as Ridgway's work goes, you know and I know that there isn't one man or woman out of a hundred among his brother-in-law's friends who knows whether it's good or bad--that's the pity of it. If it's bad and they buy it, that's their fault for not knowing any better, not Ridgway's fault for doing the best he knows how. By silk stockings and pumps I suppose Waller means that Ridgway dressed himself like a gentleman, had his hair cut, and paid some attention to his finger-nails. That's why they were glad to see him. The day has gone by when a painter must affect a bob-tailed velveteen jacket, long hair, and a slouch hat to help him paint, just as the day has gone by when an artist is not an honored guest in any gentleman's house in town."
"Bravo, Tom-Noddy!" shouted Jack and Fred in a breath. "Drink, you dear old pressed brick. Put your nose into this!" and Fred held a mug of beer to Oliver's lips.
Oliver laid down his sheaf of brushes--buried his nose in the cool rim of the stone mug, the only beverage the club permitted, and was about to continue his talk, when his eye rested on Bianchi, who was standing in the open door, his hand upraised so as to bespeak silence.
"Here--you beautiful, bald-headed old burgomaster!" shouted Oliver. "Get into your ruff right away. Been waiting half an hour for you and--"
Bianchi put his fingers to his lips with a whispered hush, knit his brow, and pointed significantly behind him. Every eye turned, and a breathless silence fell upon the group, followed by a scraping of chairs on the floor as each man sprang to his feet.
Bianchi's surprise had arrived!
