Part 10

"Yes, and it's pretty rough I tell you on the old man," remarked a third. "I saw him yesterday. The poor fellow is all broken up. There's going to be a row, and a hot one, I hear. Pistols, divorce; the air's blue; all sorts of things. Old fellow blusters, but he looks ten years older."

Gregg had risen from his chair and stood facing the speaker, his brown eyes flashing, his lips quivering. The talk had drifted in a direction that set his blood to tingling.

"You tell me that Hartman has at last run away with Mrs. Bowdoin!" he exclaimed angrily, his voice rising in intensity as he proceeded. "Has he finally turned scoundrel and made an outcast of himself and of her? I have been expecting something of the kind ever since I saw him in Bowdoin's studio at his last reception. And do you really mean to tell me that he has actually run off with her?"

"Well, not exactly run off--she's gone to her mother. She's only half Bowdoin's age, you know. Hartman, of course, pooh-poohs the whole thing."

"And he's Bowdoin's friend, I suppose you know!" Gregg continued in a restrained, incisive tone.

"Yes, certainly, studied with him; that's where he met her so often."

Gregg began pacing the floor. Stopping short in his walk he turned and faced the group about the fire:

"Does he realize," he burst out in a voice that rang through the room and fastened every eye upon him--"what his cowardly weakness will bring him? The misery it will entail; the sleepless nights, the fear, the remorse that will follow? The outrage on Bowdoin's home, on his children? Has he thought of the humiliation of the man deserted--the degradation of the man who caused it? Does he know what it is to live a life where every decent woman brands you as a scoundrel, and every decent man looks upon you as a thief?"

The outburst astounded the room. One or two arose from their chairs and stood looking at him in amazement. Gregg was often outspoken; right was right with him, and wrong was wrong, and he never minced matters. They loved him for his frankness and courage, but this outbreak seemed entirely uncalled for by anything that had been said or done. Surely there must be a personal side to his attitude. Had any friend of his any such experience that he should explode so suddenly? What made it all the more unaccountable was that he never talked gossip, and never allowed any man to speak ill of a friend in his presence, no matter what the cause--and Hartman was his friend. Why, then, should he pounce upon him without proof of any kind other than the gossip of the studios?

"Well, my dear Gregg, don't blame me," laughed the painter who had borne the brunt of the outbreak and whom Adam had singled out to listen to his attack. "I haven't run off with pretty Mrs. Bowdoin, or made love to her either, have I?"

"But you still shake hands with Hartman, don't you?"

"Of course I do. I couldn't show him the door, could I? He's made an ass of himself, but it's none of my business. They'll have to patch it up between them. Don't get excited, Gregg, and don't forget that the jury meets this afternoon at four o'clock in my studio."

"I will be there," replied Adam curtly, "but I cannot stay very long. I have an appointment at four."

* * * * *

The room was full of his brother painters when, some hours later, his red Spanish _boina_ on his head--he always wore it when at work--Gregg entered the studio on the floor below his own. It was the first informal meeting of the Jury of the Academy, and an important one. Some of the men were grouped about the fire, smoking, or lolling in their chairs; others were stretched out on the lounges; two or three were looking over some etchings that had been brought in by a fellow-member. All had been awaiting Adam's arrival. Those who had been gathered about the portrait were discussing Gregg's denunciation of Hartman. All agreed that with their knowledge of the man's universal kindness and courtesy that the outburst was as unaccountable as it was astounding.

Gregg shook hands with the group, one by one, those who were reclining rising to their feet and the others pressing forward to greet him; then drawing out a chair at the end of the long table, he called the meeting to order. As he took his seat a man of thirty in an overcoat, his hat in his hand, walked hurriedly in through the open door, and stood for a moment looking about him, a sickly, wavering expression on his face, as if uncertain of his welcome. It was Hartman.

He was a member of the Council, and therefore privileged to attend any meeting.

Gregg pushed back his chair and rose to his feet, a certain flash of indignation in his eyes that few of his friends had ever seen.

"Stop where you are, Mr. Hartman," he said in low, cutting tones. "I prefer to conduct this meeting without you."

"And I prefer to stay where I am," answered Hartman in an unsteady voice, gazing about as if in search of some friendly eye. "I have as much right to be at this meeting as you have," he continued, advancing towards the pile of coats and hats.

Adam was in front of him now, his big, broad frame almost touching the intruder. The quick, determined movement meant danger. No one had ever seen Gregg so stirred.

"You will do as I tell you, sir! Leave the room--now--at once! Do you hear me!"

Every man was on his feet. Those who had heard Gregg's outburst a few hours before knew the reason. Others were entirely ignorant of the cause of his wrath.

"You are not responsible for me or my actions. I'm a man who can----"

"Man! You are not a man, sir! You are a thief, one who steals into a brother painter's home and robs him of everything he holds dear. Get out of here! Go and hide yourself in the uttermost parts of the earth where no man you ever saw will know you! Jump into the sea--destroy yourself! Go, you leper! Savages protect their women!"

He had his fingers in Hartman's collar now and was backing him towards the door. One or two men tried to stop him, but Gregg's voice rang out clear:

"Keep your hands off! Out he goes, if I have to throw him downstairs. Stand back, all of you--" and with a mighty effort he caught the younger and apparently stronger man under the armpits and hurled him through the open doorway.

For some seconds no one spoke. The suddenness of the attack, the uncontrollable anger of the distinguished painter--so gentle and forbearing always--the tremendous strength of the man; the cowering look on Hartman's face--a look that plainly told of his guilt--had stunned every one in the room.

Gregg broke the silence. He had locked the door on Hartman and was again in his chair by the table, a flushed face and rumpled shirt the only marks of the encounter.

"I owe you an apology, gentlemen," he said, adjusting his cuffs and speaking in the same voice with which he would have asked for a match to light his cigar. "I did not intend to disturb the meeting, but there are some things I cannot stand. We have curs prowling around in society, walking in and out of decent homes, trusted and believed in, that are twice as dangerous as mad dogs. Hartman is one of them. When they bite they kill. The only way is to shut your doors in their faces. That I shall do whenever one crosses my path. And now, if you will excuse me, I will ask one of you to fill my place and let me go back to my studio. I have an appointment at four, as I told you this morning, and I'm late."

Once in the corridor he stepped to the rail, looked over the banisters as if in expectation of seeing the object of his wrath, and slowly mounted the stairs to his studio. As he approached the velvet curtain he heard through the half-closed door a heavy step. Some one was walking about inside. Was Hartman waiting for him to renew the conflict? he wondered. Pushing aside the curtain he stepped boldly in.

On the mat before the fire, with his back to the door, his eyes fixed on Olivia's portrait, stood a young man he had never seen before. As the overhead light fell on his glossy hair and over his clean-shaven face and well-groomed body, Gregg noticed that he belonged to the class of prosperous business men of the day. This was not only apparent in the way his well-cut clothes fitted his slender body--perfect in appointment, from the bunch of violets in his button-hole to his polished shoes--but in his quick movements.

"Have I made a mistake?" the young man asked in a crisp, decisive voice. "This is Mr. Adam Gregg, is it not? I found your door on a crack and thought you were not far off."

"No, you haven't made a mistake," answered Adam courteously, startled out of his mood by the bearing and kindly greeting of the stranger. "My name is Gregg--what can I do for you?" All trace of his former agitation was gone now.

"Well, I am here on behalf of my special partner, Mr. Eggleston, who is also a director in one of our companies, and who had an appointment with you at four o'clock. He is detained at the trust company's office, and I came in his stead. The portrait, as I suppose that little fellow--I forget his name--has told you, is to hang up in the office of the Portage Copper Company--that's our company. We want a full-sized portrait--big and important. Mr. Eggleston is a good deal of a man, you know, and there's a business side to it--business side to most everything in the Street," this came with a half-laugh. "I'll tell you about that later. You never saw him, of course. No?--he's so busy he doesn't get around much uptown. Fine, large, rather imposing-looking--white hair, red face and big hands--lots of color about him--ought to paint him, I suppose, with his hand on a globe, or some books. I'm not posted on these things, but you'll know when you see him. He'll be up any day next week that you say. We want it right away, of course. Some business in that, too," and another faint laugh escaped his lips.

All this time Gregg had been standing in front of the stranger waiting for an opportunity to offer him his hand and tell how sorry he was to have kept him waiting, explaining the meeting of the jury and his being obliged to be present, but the flow of talk had continued without a break and in a way that began to attract his attention.

"Got a nice place here," the young man rattled on, gazing about him as he spoke; "first time I was ever in a studio, and first time, too, I ever met a real painter in his workshop. I'm so tied down. Valuable, these things you've got here, too--cost a lot of money. I buy a few myself now and then. By the bye, while I was waiting for you to come in I couldn't help looking at the pictures and things."

He had stepped closer now, his eyes boring into Gregg's as if he were trying to read his mind. For an instant Gregg thought an extra cocktail on the way uptown was the cause of his garrulousness.

"Of course I know it's all right, Mr. Gregg, or you wouldn't have it--and you needn't tell me if you don't want to--maybe I oughtn't to ask, been so long ago and everything lost track of--but you won't feel offended if I do, will you?" He had his hand on Gregg's shoulder now, his lips quivering, a peculiar look in his eyes. "Come across here with me, please. No--this way, to the fireplace. Where did you get that portrait?"

Gregg felt a sudden relief. The man wasn't drunk--it was the beauty of the picture which had affected him. He could forgive him that, although he felt sure the next move would be an offer to purchase it. He had met his kind before.

"I bought it at private sale," he answered simply.

"When?"

"Yesterday."

"Who sold it to you?"

"Schenck, the auctioneer."

"Will you sell it to me?"

"No; I never sell anything of that kind."

"Not at a large price?"

"Not any price," Gregg replied in a decided tone. It was just as he expected. These men of business gauge everything by their bank accounts. One of them had had the impertinence to ask him to fill up a blank check for the contents of his studio.

"Where did it come from?"

"Schenck told me he didn't know. It was held for storage. It seems to interest you?" There was a slight tone of resentment in Gregg's voice.

"Yes, it does, more than I can tell you, more than you can understand." His voice had lost its nervousness now.

"It reminds you of some one, perhaps?" asked Gregg. There might, after all, be some spark of sentiment in the young man.

"Yes, it does," he continued, devouring it with his eyes. "I haven't seen it since I was a child."

"You know it, then!" It was Gregg's turn to be surprised. "Where did you see it, may I ask?"

"Down in Maryland, at Derwood Manor, before it was burned."

The blood mounted to Gregg's cheeks and he was about to speak. Then he checked himself. He did not want to know of the portrait's vicissitudes. That it was now where he could be locked up with it, made up for everything it had come through.

"Yes, these memories are very curious," remarked Gregg in a more gentle tone. "It reminds me also of some one I once knew. Don't you think it is very beautiful?"

"Beautiful! _Beautiful!_ It's the most beautiful thing in the world to me! Why, it's my own mother, Mr. Gregg!"

"You--your own mother! What's your name?"

"Philip Colton."

VII

The same poise that restrained Adam Gregg when he came suddenly upon Olivia's portrait in the auction-room sustained him when he looked into the eyes of the young man whom, years before, he had left as a child at Derwood Manor.

"Are you sure?" he asked. He knew he was--he only wanted some fresh light on the dark record. For years the book had been sealed.

"Am I sure? Why it used to be in the garret till my father died, and then my mother brought it down into her room. I have seen her sit before it for hours--she loved it. And once I found her kissing it. Strange, isn't it, how a woman will regret her youth?--and yet I always thought my mother beautiful even when her hair turned gray."

Gregg turned his head and tightened his fingers. For an instant he feared his tears would unman him.

"If it is your mother's portrait," he said, "the picture belongs to you, not to me. I bought it because it recalled a face I once knew, and for its beauty. A man has but one mother, and if your own was like this one she must be your most precious memory. I did not intend to part with it, but I'll give it to you."

"Oh! you are very good, Mr. Gregg," burst out the young man, grasping Adam's hand (Adam caught Olivia's smile now, flashing across his features), "but I have no place for it--not yet. I may have later, when I have a home of my own; that depends upon my business. I'll only ask you to let me come in once in a while to see it."

Gregg returned the grasp heartily, declaring that his door was always open to him at any time and the picture at his disposal whenever he should claim it. He did not tell him he had painted it. He did not tell him that he had known either Olivia or his father, or of his visit ten years later. That part of his life had had a sad and bitter end. Both of them were dead; the house in ruins--why rake among the cinders?

* * * * *

All that spring, in response to Adam's repeated welcomes, Philip Colton made excuses to drop into Gregg's studio. At first to postpone the time for Mr. Eggleston's sittings; then to invite Gregg to dinner at his club to meet some brother financiers, which Gregg declined; again to get his opinion on some trinkets he had bought, and still again to bring him some flowers, he having noticed that the painter was never without them--nor was the portrait, for that matter, Adam always placing a cluster of blossoms or a bunch of roses near the picture, either on the mantel beneath or on the table beside it.

Sometimes Adam when leaving his door on a crack would find that in his absence in an adjoining studio, Colton had come and gone, the only record of his visit being a mass of roses he himself had placed beneath his mother's portrait. Once he surprised the young man standing before it looking up into the eyes as if waiting for her to speak. Incidents like these showed his better and more sympathetic nature and drew Adam to him the closer.

And the growth of the friendship was not all on one side. Not only was Gregg's type of man absolutely new to the young financier, but his workshop was a never-ending surprise. The fact that neither bonds nor stocks, nor anything connected with them, was ever discussed inside its tapestried walls, opened up for him new vistas in life. The latest novel might be gone into or a character in a recent play; or the rendering of a symphony, or some fresh discovery in science, but nothing of gain. What struck him as more extraordinary still was the air of repose that was everywhere apparent, so different from his own busy life, and at any hour of the day, too. This was apparent not only in the voices, but in the attitude and bearing of the men who formed the painter's circle of friends.

Sometimes he would find Macklin, the sculptor--up from his atelier in the basement--buried in a chair and a book, pipe in mouth, before Gregg's fire--had been there for hours when Phil entered. Again he would catch the sound of the piano as he mounted the stairs, only to discover Putney, the landscape painter, running his fingers over the keys, while Adam stood before his easel touching his canvas here or there; or he would interrupt old Sonheim, who kept the book-shop at the corner, and who had known Adam for years--while he read aloud this and that quotation from a musty volume, Adam stretched out at full length on his divan, the smoke of his cigarette drifting blue in the overhead light.

These restful contrasts to his own life interested and astonished him. Since his father's death he had had few hours of real repose. While not yet fifteen he had been thrown out into the world to earn his bread. A successful earning, for he was already head of his firm, in which his prospective father-in-law, Mr. Eggleston, the rich banker, was special partner, and young Eggleston the junior member. An honorable career, too, for the house stood high in the Street, and its credit was above reproach in the commercial world, their company--the Portage Copper Company, whose securities they financed--being one of the many important mining properties in the great Northwest. All this he owed to his own indomitable will and pluck, and to his untiring industry--a quality developed in many another young Southerner the victim of the war and its aftermath.

And he was always welcome.

Apart from the tie that bound them together--of which Philip was unconscious--Adam's heart went out to the young fellow as many another childless, wifeless man's has gone out to youth. He loved his enthusiasms, his industry, his successes. Most of all he loved the young man's frankness--the way in which he kept nothing back--even his earlier escapades, many of which he should have been ashamed of. Then again he loved the reverence with which Phil treated him, the deference to his opinions, the acceptance of his standards. Most of all he loved him for the memory of the long ago.

It was only when the overmastering power of money became the dominant force--the one recognized and gloated over by Philip--that his face grew grave. It was then that the older and wiser man, with his keen insight into the human heart, trembled for the younger, fearing that some sudden pressure, either of fortune or misfortune, might sweep him off his feet. It was at these times--Philip's face all excitement with the telling--that Adam's penetrating eyes, searching into the inner places, would find the hard, almost pitiless lines which he remembered so well in the father's face repeated in the son's.

There was, however, one subject which swept these lines out of his face. That was when Phil would speak of Madeleine, the rich banker's daughter--Madeleine with her sunny eyes and merry laugh--"Only up to my shoulder--such a dear girl!" Then there would break over the young man's face that joyous, irradiating smile, that sudden sparkle of the eye and quiver of the lip that had made his own mother's face so enchanting. On these occasions the Street and all it stood for, as well as books and everything else, was forgotten and Madeleine would become the sole topic. These two influences struggled for mastery in the young man's heart; influences unknown to Philip, but clear as print to the eye of the thoughtful man of the world who, day by day, read his companion's mind the clearer.

As to Madeleine no subject could be more congenial.

When a young fellow under thirty has found a sympathetic old fellow of fifty to listen to talks of his sweetheart, and when that old fellow of fifty has found a companion with a look in his eyes of the woman he loved and who carries in his face something of the joy he knew in youth, it is no wonder that these two became still greater friends, or that Philip's tread outside Adam Gregg's door was always followed by a quick beat of the painter's heart and a warm grasp of his hand.

One afternoon Philip came in with a spring quite different from either his nervous walk or his more measured tread--his "bank director's step" Adam used to call it with a smile. This time he was on his toes, his hands in the air tossing the velvet curtains aside with a swing as he sprang inside.

"Madeleine's home from the West!" he burst out. "Now at last you'll see her, and you've got to paint her, too. Oh, she knows all about the portrait and how you found it; and this studio and the blossoms you love, and everything. My letters have been full of nothing else all winter. She's crazy to see you."

"Not any more crazy than I am to see her," laughed Adam, with his hand on the young man's shoulder.