The author wishes to thank McClure's Magazine, The Century Magazine and Harper's Magazine for their courtesy in permitting the re-publication of three stories in this collection.
The last four stories in the volume, Paul's Case, A Wagner Matinée, The Sculptor's Funeral, "A Death in the Desert," are re-printed from the author's first book of stories, entitled "The Troll Garden," published in 1905.
Coming, Aphrodite!
Don Hedger had lived for four years on the top floor of an old house on the south side of Washington Square, and nobody had ever disturbed him. He occupied one big room with no outside exposure except on the north, where he had built in a many-paned studio window that looked upon a court and upon the roofs and walls of other buildings. His room was very cheerless, since he never got a ray of direct sunlight; the south corners were always in shadow. In one of the corners was a clothes closet, built against the partition, in another a wide divan, serving as a seat by day and a bed by night. In the front corner, the one farther from the window, was a sink, and a table with two gas burners where he sometimes cooked his food. There, too, in the perpetual dusk, was the dog's bed, and often a bone or two for his comfort.
The dog was a Boston bull terrier, and Hedger explained his surly disposition by the fact that he had been bred to the point where it told on his nerves. His name was Caesar III, and he had taken prizes at very exclusive dog shows. When he and his master went out to prowl about University Place or to promenade along West Street, Caesar III was invariably fresh and shining. His pink skin showed through his mottled coat, which glistened as if it had just been rubbed with olive oil, and he wore a brass-studded collar, bought at the smartest saddler's. Hedger, as often as not, was hunched up in an old striped blanket coat, with a shapeless felt hat pulled over his bushy hair, wearing black shoes that had become grey, or brown ones that had become black, and he never put on gloves unless the day was biting cold.
Early in May, Hedger learned that he was to have a new neighbour in the rear apartment—two rooms, one large and one small, that faced the west. His studio was shut off from the larger of these rooms by double doors, which, though they were fairly tight, left him a good deal at the mercy of the occupant. The rooms had been leased, long before he came there, by a trained nurse who considered herself knowing in old furniture. She went to auction sales and bought up mahogany and dirty brass and stored it away here, where she meant to live when she retired from nursing. Meanwhile, she sub-let her rooms, with their precious furniture, to young people who came to New York to "write" or to "paint"—who proposed to live by the sweat of the brow rather than of the hand, and who desired artistic surroundings.
When Hedger first moved in, these rooms were occupied by a young man who tried to write plays—and who kept on trying until a week ago, when the nurse had put him out for unpaid rent.
A few days after the playwright left, Hedger heard an ominous murmur of voices through the bolted double doors: the lady-like intonation of the nurse—doubtless exhibiting her treasures—and another voice, also a woman's, but very different; young, fresh, unguarded, confident. All the same, it would be very annoying to have a woman in there. The only bath-room on the floor was at the top of the stairs in the front hall, and he would always be running into her as he came or went from his bath. He would have to be more careful to see that Caesar didn't leave bones about the hall, too; and she might object when he cooked steak and onions on his gas burner.
As soon as the talking ceased and the women left, he forgot them. He was absorbed in a study of paradise fish at the Aquarium, staring out at people through the glass and green water of their tank. It was a highly gratifying idea; the incommunicability of one stratum of animal life with another—though Hedger pretended it was only an experiment in unusual lighting. When he heard trunks knocking against the sides of the narrow hall, then he realized that she was moving in at once. Toward noon, groans and deep gasps and the creaking of ropes, made him aware that a piano was arriving. After the tramp of the movers died away down the stairs, somebody touched off a few scales and chords on the instrument, and then there was peace. Presently he heard her lock her door and go down the hall humming something; going out to lunch, probably. He stuck his brushes in a can of turpentine and put on his hat, not stopping to wash his hands. Caesar was smelling along the crack under the bolted doors; his bony tail stuck out hard as a hickory withe, and the hair was standing up about his elegant collar.
Hedger encouraged him. "Come along, Caesar. You'll soon get used to a new smell."
In the hall stood an enormous trunk, behind the ladder that led to the roof, just opposite Hedger's door. The dog flew at it with a growl of hurt amazement. They went down three flights of stairs and out into the brilliant May afternoon.
Behind the Square, Hedger and his dog descended into a basement oyster house where there were no tablecloths on the tables and no handles on the coffee cups, and the floor was covered with sawdust, and Caesar was always welcome—not that he needed any such precautionary flooring. All the carpets of Persia would have been safe for him. Hedger ordered steak and onions absentmindedly, not realizing why he had an apprehension that this dish might be less readily at hand hereafter. While he ate, Caesar sat beside his chair, gravely disturbing the sawdust with his tail.
After lunch Hedger strolled about the Square for the dog's health and watched the stages pull out;—that was almost the very last summer of the old horse stages on Fifth Avenue. The fountain had but lately begun operations for the season and was throwing up a mist of rainbow water which now and then blew south and sprayed a bunch of Italian babies that were being supported on the outer rim by older, very little older, brothers and sisters. Plump robins were hopping about on the soil; the grass was newly cut and blindingly green. Looking up the Avenue through the Arch, one could see the young poplars with their bright, sticky leaves, and the Brevoort glistening in its spring coat of paint, and shining horses and carriages—occasionally an automobile, misshapen and sullen, like an ugly threat in a stream of things that were bright and beautiful and alive.
While Caesar and his master were standing by the fountain, a girl approached them, crossing the Square. Hedger noticed her because she wore a lavender cloth suit and carried in her arms a big bunch of fresh lilacs. He saw that she was young and handsome—beautiful, in fact, with a splendid figure and good action. She, too, paused by the fountain and looked back through the Arch up the Avenue. She smiled rather patronizingly as she looked, and at the same time seemed delighted. Her slowly curving upper lip and half-closed eyes seemed to say: "You're gay, you're exciting, you are quite the right sort of thing; but you're none too fine for me!"
In the moment she tarried, Caesar stealthily approached her and sniffed at the hem of her lavender skirt, then, when she went south like an arrow, he ran back to his master and lifted a face full of emotion and alarm, his lower lip twitching under his sharp white teeth and his hazel eyes pointed with a very definite discovery. He stood thus, motionless, while Hedger watched the lavender girl go up the steps and through the door of the house in which he lived.
"You're right, my boy, it's she! She might be worse looking, you know."
When they mounted to the studio, the new lodger's door, at the back of the hall, was a little ajar, and Hedger caught the warm perfume of lilacs just brought in out of the sun. He was used to the musty smell of the old hall carpet. (The nurse-lessee had once knocked at his studio door and complained that Caesar must be somewhat responsible for the particular flavour of that mustiness, and Hedger had never spoken to her since.) He was used to the old smell, and he preferred it to that of the lilacs, and so did his companion, whose nose was so much more discriminating. Hedger shut his door vehemently, and fell to work.
Most young men who dwell in obscure studios in New York have had a beginning, come out of something, have somewhere a home town, a family, a paternal roof. But Don Hedger had no such background. He was a foundling, and had grown up in a school for homeless boys, where book-learning was a negligible part of the curriculum. When he was sixteen, a Catholic priest took him to Greensburg, Pennsylvania, to keep house for him. The priest did something to fill in the large gaps in the boy's education—taught him to like "Don Quixote" and "The Golden Legend," and encouraged him to mess with paints and crayons in his room up under the slope of the mansard. When Don wanted to go to New York to study at the Art League, the priest got him a night job as packer in one of the big department stores. Since then, Hedger had taken care of himself; that was his only responsibility. He was singularly unencumbered; had no family duties, no social ties, no obligations toward any one but his landlord. Since he travelled light, he had travelled rather far. He had got over a good deal of the earth's surface, in spite of the fact that he never in his life had more than three hundred dollars ahead at any one time, and he had already outlived a succession of convictions and revelations about his art.
Though he was now but twenty-six years old, he had twice been on the verge of becoming a marketable product; once through some studies of New York streets he did for a magazine, and once through a collection of pastels he brought home from New Mexico, which Remington, then at the height of his popularity, happened to see, and generously tried to push. But on both occasions Hedger decided that this was something he didn't wish to carry further—simply the old thing over again and got nowhere—so he took enquiring dealers experiments in a "later manner," that made them put him out of the shop. When he ran short of money, he could always get any amount of commercial work; he was an expert draughtsman and worked with lightning speed. The rest of his time he spent in groping his way from one kind of painting into another, or travelling about without luggage, like a tramp, and he was chiefly occupied with getting rid of ideas he had once thought very fine.
Hedger's circumstances, since he had moved to Washington Square, were affluent compared to anything he had ever known before. He was now able to pay advance rent and turn the key on his studio when he went away for four months at a stretch. It didn't occur to him to wish to be richer than this. To be sure, he did without a great many things other people think necessary, but he didn't miss them, because he had never had them. He belonged to no clubs, visited no houses, had no studio friends, and he ate his dinner alone in some decent little restaurant, even on Christmas and New Year's. For days together he talked to nobody but his dog and the janitress and the lame oysterman.
After he shut the door and settled down to his paradise fish on that first Tuesday in May, Hedger forgot all about his new neighbour. When the light failed, he took Caesar out for a walk. On the way home he did his marketing on West Houston Street, with a one-eyed Italian woman who always cheated him. After he had cooked his beans and scallopini, and drunk half a bottle of Chianti, he put his dishes in the sink and went up on the roof to smoke. He was the only person in the house who ever went to the roof, and he had a secret understanding with the janitress about it. He was to have "the privilege of the roof," as she said, if he opened the heavy trapdoor on sunny days to air out the upper hall, and was watchful to close it when rain threatened. Mrs. Foley was fat and dirty and hated to climb stairs—besides, the roof was reached by a perpendicular iron ladder, definitely inaccessible to a woman of her bulk, and the iron door at the top of it was too heavy for any but Hedger's strong arm to lift. Hedger was not above medium height, but he practised with weights and dumb-bells, and in the shoulders he was as strong as a gorilla.
So Hedger had the roof to himself. He and Caesar often slept up there on hot nights, rolled in blankets he had brought home from Arizona. He mounted with Caesar under his left arm. The dog had never learned to climb a perpendicular ladder, and never did he feel so much his master's greatness and his own dependence upon him, as when he crept under his arm for this perilous ascent. Up there was even gravel to scratch in, and a dog could do whatever he liked, so long as he did not bark. It was a kind of Heaven, which no one was strong enough to reach but his great, paint-smelling master.
On this blue May night there was a slender, girlish looking young moon in the west, playing with a whole company of silver stars. Now and then one of them darted away from the group and shot off into the gauzy blue with a soft little trail of light, like laughter. Hedger and his dog were delighted when a star did this. They were quite lost in watching the glittering game, when they were suddenly diverted by a sound—not from the stars, though it was music. It was not the Prologue to Pagliacci, which rose ever and anon on hot evenings from an Italian tenement on Thompson Street, with the gasps of the corpulent baritone who got behind it; nor was it the hurdy-gurdy man, who often played at the corner in the balmy twilight. No, this was a woman's voice, singing the tempestuous, over-lapping phrases of Signor Puccini, then comparatively new in the world, but already so popular that even Hedger recognized his unmistakable gusts of breath. He looked about over the roofs; all was blue and still, with the well-built chimneys that were never used now standing up dark and mournful. He moved softly toward the yellow quadrangle where the gas from the hall shone up through the half-lifted trapdoor. Oh yes! It came up through the hole like a strong draught, a big, beautiful voice, and it sounded rather like a professional's. A piano had arrived in the morning, Hedger remembered. This might be a very great nuisance. It would be pleasant enough to listen to, if you could turn it on and off as you wished; but you couldn't. Caesar, with the gas light shining on his collar and his ugly but sensitive face, panted and looked up for information. Hedger put down a reassuring hand.
"I don't know. We can't tell yet. It may not be so bad."
He stayed on the roof until all was still below, and finally descended, with quite a new feeling about his neighbour. Her voice, like her figure, inspired respect—if one did not choose to call it admiration. Her door was shut, the transom was dark; nothing remained of her but the obtrusive trunk, unrightfully taking up room in the narrow hall.
For two days Hedger didn't see her. He was painting eight hours a day just then, and only went out to hunt for food. He noticed that she practised scales and exercises for about an hour in the morning; then she locked her door, went humming down the hall, and left him in peace. He heard her getting her coffee ready at about the same time he got his. Earlier still, she passed his room on her way to her bath. In the evening she sometimes sang, but on the whole she didn't bother him. When he was working well he did not notice anything much. The morning paper lay before his door until he reached out for his milk bottle, then he kicked the sheet inside and it lay on the floor until evening. Sometimes he read it and sometimes he did not. He forgot there was anything of importance going on in the world outside of his third floor studio. Nobody had ever taught him that he ought to be interested in other people; in the Pittsburgh steel strike, in the Fresh Air Fund, in the scandal about the Babies' Hospital. A grey wolf, living in a Wyoming canyon, would hardly have been less concerned about these things than was Don Hedger.
One morning he was coming out of the bathroom at the front end of the hall, having just given Caesar his bath and rubbed him into a glow with a heavy towel. Before the door, lying in wait for him, as it were, stood a tall figure in a flowing blue silk dressing gown that fell away from her marble arms. In her hands she carried various accessories of the bath.
"I wish," she said distinctly, standing in his way, "I wish you wouldn't wash your dog in the tub. I never heard of such a thing! I've found his hair in the tub, and I've smelled a doggy smell, and now I've caught you at it. It's an outrage!"
Hedger was badly frightened. She was so tall and positive, and was fairly blazing with beauty and anger. He stood blinking, holding on to his sponge and dog-soap, feeling that he ought to bow very low to her. But what he actually said was:
"Nobody has ever objected before. I always wash the tub—and, anyhow, he's cleaner than most people."
"Cleaner than me?" her eyebrows went up, her white arms and neck and her fragrant person seemed to scream at him like a band of outraged nymphs. Something flashed through his mind about a man who was turned into a dog, or was pursued by dogs, because he unwittingly intruded upon the bath of beauty.
"No, I didn't mean that," he muttered, turning scarlet under the bluish stubble of his muscular jaws. "But I know he's cleaner than I am."
"That I don't doubt!" Her voice sounded like a soft shivering of crystal, and with a smile of pity she drew the folds of her voluminous blue robe close about her and allowed the wretched man to pass. Even Caesar was frightened; he darted like a streak down the hall, through the door and to his own bed in the corner among the bones.
Hedger stood still in the doorway, listening to indignant sniffs and coughs and a great swishing of water about the sides of the tub. He had washed it; but as he had washed it with Caesar's sponge, it was quite possible that a few bristles remained; the dog was shedding now. The playwright had never objected, nor had the jovial illustrator who occupied the front apartment—but he, as he admitted, "was usually pye-eyed, when he wasn't in Buffalo." He went home to Buffalo sometimes to rest his nerves.
It had never occurred to Hedger that any one would mind using the tub after Caesar;—but then, he had never seen a beautiful girl caparisoned for the bath before. As soon as he beheld her standing there, he realized the unfitness of it. For that matter, she ought not to step into a tub that any other mortal had bathed in; the illustrator was sloppy and left cigarette ends on the moulding.
All morning as he worked he was gnawed by a spiteful desire to get back at her. It rankled that he had been so vanquished by her disdain. When he heard her locking her door to go out for lunch, he stepped quickly into the hall in his messy painting coat, and addressed her.
"I don't wish to be exigent, Miss,"—he had certain grand words that he used upon occasion—"but if this is your trunk, it's rather in the way here."
"Oh, very well!" she exclaimed carelessly, dropping her keys into her handbag. "I'll have it moved when I can get a man to do it," and she went down the hall with her free, roving stride.
Her name, Hedger discovered from her letters, which the postman left on the table in the lower hall, was Eden Bower.
In the closet that was built against the partition separating his room from Miss Bower's, Hedger kept all his wearing apparel, some of it on hooks and hangers, some of it on the floor. When he opened his closet door now-a-days, little dust-coloured insects flew out on downy wing, and he suspected that a brood of moths were hatching in his winter overcoat. Mrs. Foley, the janitress, told him to bring down all his heavy clothes and she would give them a beating and hang them in the court. The closet was in such disorder that he shunned the encounter, but one hot afternoon he set himself to the task. First he threw out a pile of forgotten laundry and tied it up in a sheet. The bundle stood as high as his middle when he had knotted the corners. Then he got his shoes and overshoes together. When he took his overcoat from its place against the partition, a long ray of yellow light shot across the dark enclosure—a knot hole, evidently, in the high wainscoating of the west room. He had never noticed it before, and without realizing what he was doing, he stooped and squinted through it.
Yonder, in a pool of sunlight, stood his new neighbour, wholly unclad, doing exercises of some sort before a long gilt mirror. Hedger did not happen to think how unpardonable it was of him to watch her. Nudity was not improper to any one who had worked so much from the figure, and he continued to look, simply because he had never seen a woman's body so beautiful as this one—positively glorious in action. As she swung her arms and changed from one pivot of motion to another, muscular energy seemed to flow through her from her toes to her finger-tips. The soft flush of exercise and the gold of afternoon sun played over her flesh together, enveloped her in a luminous mist which, as she turned and twisted, made now an arm, now a shoulder, now a thigh, dissolve in pure light and instantly recover its outline with the next gesture. Hedger's fingers curved as if he were holding a crayon; mentally he was doing the whole figure in a single running line, and the charcoal seemed to explode in his hand at the point where the energy of each gesture was discharged into the whirling disc of light, from a foot or shoulder, from the up-thrust chin or the lifted breasts.
He could not have told whether he watched her for six minutes or sixteen. When her gymnastics were over, she paused to catch up a lock of hair that had come down, and examined with solicitude a little reddish mole that grew under her left arm-pit. Then, with her hand on her hip, she walked unconcernedly across the room and disappeared through the door into her bedchamber.
Disappeared—Don Hedger was crouching on his knees, staring at the golden shower which poured in through the west windows, at the lake of gold sleeping on the faded Turkish carpet. The spot was enchanted; a vision out of Alexandria, out of the remote pagan past, had bathed itself there in Helianthine fire.
When he crawled out of his closet, he stood blinking at the grey sheet stuffed with laundry, not knowing what had happened to him. He felt a little sick as he contemplated the bundle. Everything here was different; he hated the disorder of the place, the grey prison light, his old shoes and himself and all his slovenly habits. The black calico curtains that ran on wires over his big window were white with dust. There were three greasy frying pans in the sink, and the sink itself—He felt desperate. He couldn't stand this another minute. He took up an armful of winter clothes and ran down four flights into the basement.
"Mrs. Foley," he began, "I want my room cleaned this afternoon, thoroughly cleaned. Can you get a woman for me right away?"
"Is it company you're having?" the fat, dirty janitress enquired. Mrs. Foley was the widow of a useful Tammany man, and she owned real estate in Flatbush. She was huge and soft as a feather bed. Her face and arms were permanently coated with dust, grained like wood where the sweat had trickled.
"Yes, company. That's it."
"Well, this is a queer time of the day to be asking for a cleaning woman. It's likely I can get you old Lizzie, if she's not drunk. I'll send Willy round to see."
Willy, the son of fourteen, roused from the stupor and stain of his fifth box of cigarettes by the gleam of a quarter, went out. In five minutes he returned with old Lizzie—she smelling strong of spirits and wearing several jackets which she had put on one over the other, and a number of skirts, long and short, which made her resemble an animated dish-clout. She had, of course, to borrow her equipment from Mrs. Foley, and toiled up the long flights, dragging mop and pail and broom. She told Hedger to be of good cheer, for he had got the right woman for the job, and showed him a great leather strap she wore about her wrist to prevent dislocation of tendons. She swished about the place, scattering dust and splashing soapsuds, while he watched her in nervous despair. He stood over Lizzie and made her scour the sink, directing her roughly, then paid her and got rid of her. Shutting the door on his failure, he hurried off with his dog to lose himself among the stevedores and dock labourers on West Street.
A strange chapter began for Don Hedger. Day after day, at that hour in the afternoon, the hour before his neighbour dressed for dinner, he crouched down in his closet to watch her go through her mysterious exercises. It did not occur to him that his conduct was detestable; there was nothing shy or retreating about this unclad girl—a bold body, studying itself quite coolly and evidently well pleased with itself, doing all this for a purpose. Hedger scarcely regarded his action as conduct at all; it was something that had happened to him. More than once he went out and tried to stay away for the whole afternoon, but at about five o'clock he was sure to find himself among his old shoes in the dark. The pull of that aperture was stronger than his will—and he had always considered his will the strongest thing about him. When she threw herself upon the divan and lay resting, he still stared, holding his breath. His nerves were so on edge that a sudden noise made him start and brought out the sweat on his forehead. The dog would come and tug at his sleeve, knowing that something was wrong with his master. If he attempted a mournful whine, those strong hands closed about his throat.
When Hedger came slinking out of his closet, he sat down on the edge of the couch, sat for hours without moving. He was not painting at all now. This thing, whatever it was, drank him up as ideas had sometimes done, and he sank into a stupor of idleness as deep and dark as the stupor of work. He could not understand it; he was no boy, he had worked from models for years, and a woman's body was no mystery to him. Yet now he did nothing but sit and think about one. He slept very little, and with the first light of morning he awoke as completely possessed by this woman as if he had been with her all the night before. The unconscious operations of life went on in him only to perpetuate this excitement. His brain held but one image now—vibrated, burned with it. It was a heathenish feeling; without friendliness, almost without tenderness.
Women had come and gone in Hedger's life. Not having had a mother to begin with, his relations with them, whether amorous or friendly, had been casual. He got on well with janitresses and wash-women, with Indians and with the peasant women of foreign countries. He had friends among the silk-skirt factory girls who came to eat their lunch in Washington Square, and he sometimes took a model for a day in the country. He felt an unreasoning antipathy toward the well-dressed women he saw coming out of big shops, or driving in the Park. If, on his way to the Art Museum, he noticed a pretty girl standing on the steps of one of the houses on upper Fifth Avenue, he frowned at her and went by with his shoulders hunched up as if he were cold. He had never known such girls, or heard them talk, or seen the inside of the houses in which they lived; but he believed them all to be artificial and, in an aesthetic sense, perverted. He saw them enslaved by desire of merchandise and manufactured articles, effective only in making life complicated and insincere and in embroidering it with ugly and meaningless trivialities. They were enough, he thought, to make one almost forget woman as she existed in art, in thought, and in the universe.
He had no desire to know the woman who had, for the time at least, so broken up his life—no curiosity about her every-day personality. He shunned any revelation of it, and he listened for Miss Bower's coming and going, not to encounter, but to avoid her. He wished that the girl who wore shirt-waists and got letters from Chicago would keep out of his way, that she did not exist. With her he had naught to make. But in a room full of sun, before an old mirror, on a little enchanted rug of sleeping colours, he had seen a woman who emerged naked through a door, and disappeared naked. He thought of that body as never having been clad, or as having worn the stuffs and dyes of all the centuries but his own. And for him she had no geographical associations; unless with Crete, or Alexandria, or Veronese's Venice. She was the immortal conception, the perennial theme.
The first break in Hedger's lethargy occurred one afternoon when two young men came to take Eden Bower out to dine. They went into her music room, laughed and talked for a few minutes, and then took her away with them. They were gone a long while, but he did not go out for food himself; he waited for them to come back. At last he heard them coming down the hall, gayer and more talkative than when they left. One of them sat down at the piano, and they all began to sing. This Hedger found absolutely unendurable. He snatched up his hat and went running down the stairs. Caesar leaped beside him, hoping that old times were coming back. They had supper in the oysterman's basement and then sat down in front of their own doorway. The moon stood full over the Square, a thing of regal glory; but Hedger did not see the moon; he was looking, murderously, for men. Presently two, wearing straw hats and white trousers and carrying canes, came down the steps from his house. He rose and dogged them across the Square. They were laughing and seemed very much elated about something. As one stopped to light a cigarette, Hedger caught from the other:
"Don't you think she has a beautiful talent?"
His companion threw away his match. "She has a beautiful figure." They both ran to catch the stage.
Hedger went back to his studio. The light was shining from her transom. For the first time he violated her privacy at night, and peered through that fatal aperture. She was sitting, fully dressed, in the window, smoking a cigarette and looking out over the housetops. He watched her until she rose, looked about her with a disdainful, crafty smile, and turned out the light.
The next morning, when Miss Bower went out, Hedger followed her. Her white skirt gleamed ahead of him as she sauntered about the Square. She sat down behind the Garibaldi statue and opened a music book she carried. She turned the leaves carelessly, and several times glanced in his direction. He was on the point of going over to her, when she rose quickly and looked up at the sky. A flock of pigeons had risen from somewhere in the crowded Italian quarter to the south, and were wheeling rapidly up through the morning air, soaring and dropping, scattering and coming together, now grey, now white as silver, as they caught or intercepted the sunlight. She put up her hand to shade her eyes and followed them with a kind of defiant delight in her face.
Hedger came and stood beside her. "You've surely seen them before?"
"Oh, yes," she replied, still looking up. "I see them every day from my windows. They always come home about five o'clock. Where do they live?"
"I don't know. Probably some Italian raises them for the market. They were here long before I came, and I've been here four years."
"In that same gloomy room? Why didn't you take mine when it was vacant?"
"It isn't gloomy. That's the best light for painting."
"Oh, is it? I don't know anything about painting. I'd like to see your pictures sometime. You have such a lot in there. Don't they get dusty, piled up against the wall like that?"
"Not very. I'd be glad to show them to you. Is your name really Eden
Bower? I've seen your letters on the table."
"Well, it's the name I'm going to sing under. My father's name is Bowers, but my friend Mr. Jones, a Chicago newspaper man who writes about music, told me to drop the 's.' He's crazy about my voice."
Miss Bower didn't usually tell the whole story—about anything. Her first name, when she lived in Huntington, Illinois, was Edna, but Mr. Jones had persuaded her to change it to one which he felt would be worthy of her future. She was quick to take suggestions, though she told him she "didn't see what was the matter with 'Edna.'"
She explained to Hedger that she was going to Paris to study. She was waiting in New York for Chicago friends who were to take her over, but who had been detained. "Did you study in Paris?" she asked.
"No, I've never been in Paris. But I was in the south of France all last summer, studying with C——. He's the biggest man among the moderns—at least I think so."
Miss Bower sat down and made room for him on the bench. "Do tell me about it. I expected to be there by this time, and I can't wait to find out what it's like."
Hedger began to relate how he had seen some of this Frenchman's work in an exhibition, and deciding at once that this was the man for him, he had taken a boat for Marseilles the next week, going over steerage. He proceeded at once to the little town on the coast where his painter lived, and presented himself. The man never took pupils, but because Hedger had come so far, he let him stay. Hedger lived at the master's house and every day they went out together to paint, sometimes on the blazing rocks down by the sea. They wrapped themselves in light woollen blankets and didn't feel the heat. Being there and working with C—— was being in Paradise, Hedger concluded; he learned more in three months than in all his life before.
Eden Bower laughed. "You're a funny fellow. Didn't you do anything but work? Are the women very beautiful? Did you have awfully good things to eat and drink?"
Hedger said some of the women were fine looking, especially one girl who went about selling fish and lobsters. About the food there was nothing remarkable—except the ripe figs, he liked those. They drank sour wine, and used goat-butter, which was strong and full of hair, as it was churned in a goat skin.
"But don't they have parties or banquets? Aren't there any fine hotels down there?"
"Yes, but they are all closed in summer, and the country people are poor.
It's a beautiful country, though."
"How, beautiful?" she persisted.
"If you want to go in, I'll show you some sketches, and you'll see."
Miss Bower rose. "All right. I won't go to my fencing lesson this morning. Do you fence? Here comes your dog. You can't move but he's after you. He always makes a face at me when I meet him in the hall, and shows his nasty little teeth as if he wanted to bite me."
In the studio Hedger got out his sketches, but to Miss Bower, whose favourite pictures were Christ Before Pilate and a redhaired Magdalen of Henner, these landscapes were not at all beautiful, and they gave her no idea of any country whatsoever. She was careful not to commit herself, however. Her vocal teacher had already convinced her that she had a great deal to learn about many things.
"Why don't we go out to lunch somewhere?" Hedger asked, and began to dust his fingers with a handkerchief—which he got out of sight as swiftly as possible.
"All right, the Brevoort," she said carelessly. "I think that's a good place, and they have good wine. I don't care for cocktails."
Hedger felt his chin uneasily. "I'm afraid I haven't shaved this morning.
If you could wait for me in the Square? It won't take me ten minutes."
Left alone, he found a clean collar and handkerchief, brushed his coat and blacked his shoes, and last of all dug up ten dollars from the bottom of an old copper kettle he had brought from Spain. His winter hat was of such a complexion that the Brevoort hall boy winked at the porter as he took it and placed it on the rack in a row of fresh straw ones.
That afternoon Eden Bower was lying on the couch in her music room, her face turned to the window, watching the pigeons. Reclining thus she could see none of the neighbouring roofs, only the sky itself and the birds that crossed and recrossed her field of vision, white as scraps of paper blowing in the wind. She was thinking that she was young and handsome and had had a good lunch, that a very easy-going, light-hearted city lay in the streets below her; and she was wondering why she found this queer painter chap, with his lean, bluish cheeks and heavy black eyebrows, more interesting than the smart young men she met at her teacher's studio.