The White Shield. Reed Myrtle
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the pictures were not as yet upon public view. She passed him as she came in, with a rustle of silken skirts and a cooling odour of violets. Seeing the key of the room in his hand, she turned to him and said: "Pardon me, but can you tell me whose pictures these are?"
"These are Hayward's," he replied.
"Hayward," she repeated after him, as if the name were wholly new to her.
"Hayward is a young artist and of purely local reputation," he explained. "This is his first public exhibition."
She surveyed the collection without any very strong show of pleasure, until he remarked, "You don't seem to think much of his beginning."
She was prompt in her answer: "No, I do not, they seem to lack something."
He sighed inwardly. That old, old, "something." Hayward's pictures all lacked "something" as everybody said of them; but what that something was, his intimates, his fellow artists, were not the kind to know.
"What is it, do you think?" he asked.
"I don't know," she replied slowly. "If one knew the man, one might be able to tell."
For the first time she looked him full in the face. He saw nothing but her eyes, clear and honest, reading him through and through.
"Yes," he answered, "if you knew the man, I think you could tell."
"I'm not at all sure," she laughed, "It's only a fancy of mine."
Drawing a watch from her belt, she looked surprised and turned away. He listened until the silken rustle had completely ceased. Then he, too, went out and on the stair he found a fine handkerchief edged with lace, delicately scented with violet, and minutely marked in the corner: "Constance Grey."
On Sunday night, the studio building where Hayward and others painted glowed with light. The morrow's opening of "The Hayward Exhibition" was being celebrated with "a time" at the expense of the artist. Glasses clinked, and the air was heavy with smoke, two women from a vaudeville theatre, near by made merry upon an impromptu stage.
Everybody seemed to be happy except Hayward. The owner of the handkerchief was in his mind. He felt that those eyes of hers grey, deep, and tender, though they were, might blaze with anger at a scene like this. The handkerchief had no place in such an atmosphere. He went over to his book case, and put it between the leaves of his Tennyson, smiling as he caught the words on the opposite page:
"A man had given all other bliss
And all his worldly worth for this,
To waste his whole heart in one kiss
Upon her perfect lips."
Her handkerchief would feel more at home there, he thought, though as he closed the book, he could not help wondering what she would say if she looked into the room.
A quick eye had followed his movement, and soon afterward its owner, Jennings, took occasion to examine the volume. He waved the handkerchief aloft triumphantly. "Heigho, fellows! Hayward's got a new mark for his clothes! Look here – 'Constance Grey'!" Hayward was shaken with mingled shame and anger that he could not explain, even to himself. The words and tone with which he commanded his friend to put the little thing back where he had found it were as hot as they were foolish. For a moment the two men faced each other; then Jennings apologised, and afterward Hayward murmured a sort of apology also. In sparkling champagne they drank to good fellowship again. But the incident was not without a certain subtle effect upon the celebration, and at one o'clock Hayward sat alone with his face buried in his hands, a dainty handkerchief spread out before him, and beside it was the rapidly sketched outline of a face which he had just completed.
He knew now why the action of Jennings had made him so furious. The shaft of light from a woman's eyes, which once strikes deep into the soul of every man, had at last come home to him.
The "opening" was auspicious. Wealth and art alike were well represented. One of his most important pictures was marked "sold" before the evening was over, and everybody congratulated the artist upon his good fortune. In praise of his art, however, very little was said that did not somehow carry in it, perhaps silently, the old drawback – the implication that something was lacking; still exultation ran rife in his veins. There were throngs of beautiful women there and he was the centre of it all.
Toward the end of the evening, a lady who had once sat for a portrait came up to him. She was one of a little group who came in late after a theatre party, but she approached with the air of an old friend.
"Mr. Hayward," she said, "I want you to know my niece."
He followed her into the next room where a young lady sat upon a divan. Her grey eyes were lifted to his face, and then suddenly lowered in confusion.
"Mr. Hayward," she said, "I am so ashamed!" And when he tried to reassure her, she answered: "Let's not talk about it – it's too humiliating!"
So they spoke of other things. He learned that she had come from a distant city to visit relatives, and the aunt invited him to call upon them. Friday afternoon came at last, when Miss Grey and her aunt were at home. Other Fridays followed, and other days which served as well as Fridays. It was seldom that the girl looked him in the face; but when she did so, he felt himself confessed before her – a man with no right to touch even the hem of her garment, yet honouring her with every fibre of his being.
They were much together and Constance took a frank enjoyment in his friendship. He made every effort to please her, and one day they went into the country.
Constance was almost childishly happy, but the seeming perfection of her happiness distressed him when he learned that in a very few days she was to sail for Europe, pass the summer and autumn in travel, and spend the winter in Paris.
At length they sat down under a gnarled oak tree and watched the light upon the river and in the sky. After an embarrassing silence Hayward spoke:
"I think you know the man now, – will you tell me what you think of his pictures?"
She hesitated. "I do not know the man well enough to say, but I will give you my art creed, and let you judge for yourself. I believe that a man's art is neither more nor less than the expression of himself, and that, in order to obtain an exalted expression, his first business is with himself. Wrong living blunts, and eventually destroys, the fundamental sense of right and wrong without which a noble art is impossible. When a man's art is true, it is because he himself is true. The true artist must be a man first, and an artist afterward."
Hayward took her admonition with the meekness becoming his position as her worshipper. The conversation ended with his declaration that he would not paint again until he had something in himself which was worthy of being put into his picture.
"You'll help me, won't you?" he asked.
Her eyes filled. "Indeed I will, if I only can."
He went home with love's fever in his veins. She had promised to help him, and surely there was only one way. He wrote her an ardent note, and an hour later his messenger brought her reply.
"Believe me, I never dreamed of this, and you know what my answer must be; but I do not need to tell you that whatever sincere and honest friendship can offer is already yours.
The grim humour of the thing stunned him momentarily and he laughed harshly. Then he flung himself down in a passion of grief. In the morning he took pen and paper again, after a night of sleepless distress.
"You cannot mean what you say. That white womanly soul of yours must wake to love me some day. You have stood between me and the depths, and there has been no shame in the life that I offer you, since you came into it.
"Oh, you perfect thing, you perfect thing, you don't know what you are to me! Constance, let me come!"
The answer was promptly forthcoming:
"I cannot promise what you ask, but you may come and see me if you wish."
Pale with expectancy, Hayward was only the ghost of himself when the servant admitted him. He had waited but a moment when Constance