Money Magic

by Garland, Hamlin

  Moss himself opened the door, and his cordial, "How de do, Mrs. Haney," established him in her mind at once as a good fellow. He was quite as direct as Congdon. "I'm glad to see you," he said to the Captain. "Come in." He looked keenly at Lucius, who composedly explained himself. "The Captain is a little lame, and I just came along to see that he got here all right. I'll be back at 5.30."

  The door opened into a big room, which was darkened at the windows and lighted by shaded electric globes. It was cool and bare in effect. Around a small table in a far corner a half-dozen people were sitting. Mrs. Moss, who was pouring tea, rose in her place at the tea-urn as her husband approached, and cordially shook hands with her guests. "I'm very glad you came. Please tell me how you'll have your tea," she said.

  Bertha was accustomed to take her tea "any old way," and said so, being influenced by Mrs. Moss' candid eyes and merry smile. Haney, with a queer feeling of being on the stage as a character in a play, sank heavily into the chair at his hostess' right hand and said: "I never took tea in my life, but I'm not dodgin' anything you mix."

  Joe earnestly protested. "Don't do it, Captain, there's some Scotch down cellar."

  Mrs. Moss indicated one or two other dimly seen faces about her and introduced their owners in a most casual manner while she compounded a hot drink for her Western guest.

  "How long have you been in our horrible town, Mr. Haney?" she asked, heedful of Joe's warning.

  "One day, ma'am."

  "You're just 'passing through,' I presume—that's the way all Colorado people do."

  Haney smiled. He was getting the drift of her remarks. "'Tis natural, ma'am; for, you see, 'tis a long run and a heavy grade, and hard to side-track on the way."

  Bertha, to whom Moss addressed himself, was candidly looking about her—profoundly interested in what she saw. Dim forms in bronze and plaster stood on shelves, brackets, and pedestals, and at the end of the long room a big group of figures writhed as if in mortal combat. It was a work-shop—that was evident even to her—with one small nook devoted to tea and talk.

  "Would you like to poke about?" he asked, anticipating her request.

  "Yes, I would," she bluntly replied.

  "There isn't much to see," he said. "I'm the kind of sculptor who works on order. I believe in the 'art for service' idea, and when I get an order I fill it as well as I can, make it as beautiful as I can, and send it out on its mission. I'd like to model mantel-pieces and andirons, because they are seen and actually influence people's lives. What I started to say was this: my stuff all goes out—my real stuff; my fool failures stay by me—this thing, for instance." He indicated the big clump of nude forms. "I had an 'idea' when I started, but it was too ambitious and too literary. Moreover, it isn't democratic. It don't gibe with the present. I'd be a wild-animal sculptor if I knew enough about them."

  It was a profoundly moving experience for this raw mountain-bred girl to stand there beside that colossal group while the man who had modelled it took her into his confidence. There was no affectation in Moss's candor. He had come to a swift conclusion that Congdon had attempted to let him into a trap, for Bertha's reticence and dignity quite reassured him. If she had uttered a single one of the banal compliments with which visitors "kill" artists he would have stopped short; but she didn't, she only looked, and something in her face profoundly interested him. Suddenly she turned and said:

  "Tell me what it means."

  "It don't mean anything—now. Originally I intended it to mean 'The Conquest of Art by the Spirit of Business,' or something like that. I started it when I was fresh from Paris, and wore a red tie and a pointed beard. I keep it as a record of the folly into which exotic instruction will lead a man. If I were to go at it now I'd turn the whole thing around—I'd make it 'Art Inspiring Business.'"

  Bertha did not follow his thought entirely, but she felt herself in the presence of a serious problem and listening to something deep down in the heart of a strong man. Here was another world—not an altogether strange world, for Congdon had also talked to her of his work—but a world so far removed from her own life that it seemed some other planet. "How well he talks," she thought. "Like a book."

  "How charming she is," he was thinking. And the alert, aspiring pose of her head made his thumb nervously munch at the bit of clay he had picked up.

  They wandered up and down the long room while he showed her tiles for mantel decoration, bronze cats' heads for door-knobs, and curious and lovely figures for lamps and ash-trays. "I take a shy at 'most everything," he explained.

  "Do you sell these?" she asked, indicating some designs for electric desk-lamps.

  He smiled. "Sometimes—not as often as I'd like to."

  "How much are they?"

  "Fifty dollars each."

  "I'll take them both," she said, and her pulse leaped with the pride of being a patron of art.

  "Now see here, Mrs. Haney, I'm not displaying these to you as a salesman—not that I'm so very delicate about offering my things, but I try to wait till a second visit." He really did feel mean about it. "Don't take 'em—wait till to-morrow. They're pretty middling bad anyway. They're supposed to be mountain lions, but as a matter of fact I never saw a mountain lion outside the Zoo."

  "They're lions, all right. I want 'em, and I know the Captain will like 'em." She stepped back to call Haney. But finding him surrounded by all of the other callers (they had "got him going" telling stories of his wild life in the West), she turned to the sculptor with a smile, saying: "Never mind, I know they're what he needs—if he don't." And Moss, recalling Congdon's description of the Haneys' material condition, answered: "Very well, if you insist; but I really feel as though I had played a confidence game on you."

  "Can you fix 'em up with lights?" she asked, eager as a child. "I mean right now."

  "Certainly." He unscrewed a couple of small bulbs from a near-by bracket, and, putting them into place on the lamps, turned on the current. She laughed out in delight. One of the lions was playing with the stem which supported the light. As if rising from a sleep, he lay upholding the globe on one high-raised paw. The other—a counterpart, or nearly so in pose—had a different expression. The cub was snarling and clutching at the light, as if it were a bird about to escape.

  "I had an idea of putting them on the corners of a mantel to light a piece of low relief," he explained, "but I never got at the relief. It ought to be characteristic Western scenery, and I've never seen the West. Shameful, isn't it?"

  "I want you to do that mantel for me," she said. "I don't know what you mean by 'low relief,' but I know it would be up to these, and they are right!"

  "Your trust in me is beautiful, Mrs. Haney, and maybe I'll come out this summer and try to meet it."

  "I wish you would," she said, and she meant it. "I'll show you Colorado."

  "If you're starting to be a patron of art, Mrs. Haney, don't overlook Congdon; he's a first-class man." He became humorous again. "We're moving swiftly, but I'm going to tell you that he wanted me to make a sketch of you. If you'll be so good as to give me two or three sittings, I'll do something we can send out to him—if you wish."

  "What do you mean by a sketch?"

  "Something like this." And, leading her before a curious, half-human, veiled object, he began to unwind damp yellow cloths till at last the head of a young woman appeared on a small revolving stand. It was very dainty, very sweet, and smiling.

  Bertha was puzzled. "It ain't your wife, and yet it looks like her."

  "It is my wife's sister—a quick study from life—just the kind of thing Frank wants. Will you sit for me A couple of mornings will answer." He was eager to do her now. Her profile, so clear, so firm, so strangely boyish, pleased him. He could feel the "snap" that the sketch would have when it was done.

  Bertha considered. She owed a great deal to the Congdons, and she liked this man. Her homesickness at the moment was abated, and to stay two, or even three, days in Chicago promised at the moment to be not so dreadful
, after all.

  "Yes, I'll do it," she decided. "I don't know what Mr. Congdon will do with a picture of me, but that's his funeral." And her laughing lip made her seem again the untaught girl she really was.

  As they went back to the group around the Captain, Julia Moss treated her husband to a glance of commiseration, thinking him a bored and defeated man. "You've missed the Captain's racy talk," she whispered.

  Haney was enjoying himself very well in the "centre of the stage," and doing himself credit. Never in his life had he known a keener audience than these artists, who studied him from every point of view.

  "Yes," Haney was saying, "'tis possible to bust a bank if the game is straight—that is, at faro; but most machine games are built so that 'the house'—that is, the bank—is protected. My machines was always straight. I'd as soon turn a sausage-grinder as run a wheel that was 'fixed' in me favor."

  Bertha did not like this talk of his abandoned trade, and her cheeks burned as she put her hand on his shoulder. "I reckon we'd better be going."

  He recovered himself. "Of course I quit all that when I married," he explained, and dutifully rose.

  "Oh, Mrs. Haney," pleaded Mrs. Moss, "don't take him away! We were just getting light on the game of faro. Please sit down again."

  Bertha resented this tone. "No, we've got to go. Glad to have met you." She nodded towards the men who had risen. "Much obliged," she said again to Moss. "I'll send for them things to-morrow."

  Mrs. Moss cordially insisted on their coming again.

  "She's going to pose for me," reported Moss. "To-morrow morning at ten?" he inquired.

  "Ten suits me as well as any time," Bertha replied.

  Mrs. Moss beamed at Haney. "You come, too, Captain. I want to know more about those delightful games of chance."

  Bertha went back to her hotel with throbbing brain. The day had been so full of experience! She was tired out and fairly bewildered by it all.

  As her excitement ebbed and she had time to recover her own point of view, Colorado, her home, the Springs, and the memory of her own people came rushing back upon her, making the city and all it contained but a handful of east wind. Ben's kiss burned vividly again upon her lips. "Was it wrong of him to say what he did?" she began to ask herself. A good-bye kiss would not have so deeply stirred her; it was his face, his voice, his intensely uttered words which deeply thrilled her, even now, as she recalled them one by one. "You are beautiful and I love you." These were the most important words to a woman, and they had come at last to her.

  Then her cheek flushed with shame of her husband as she remembered his gambling talk at the studio. "Why must he always go back to that?" she asked, hotly.

  They ate their dinner in the big dining-room surrounded by waiters, while the Captain discussed his sister and her family. "I'll do something for Fan," he said. "She's a different sort from Charles. McArdle seems a hard-workin' chap, the kind that a little help wouldn't spile. What do you think of buyin' them a bit of a house somewhere?"

  Bertha listened with a languor of interest new to her, and when he repeated his question and asked her if she were tired, she answered: "Yes; and I think I'll go to bed early to-night. It's been a hard day."

  * * *

  CHAPTER XVIII

  BERTHA'S PORTRAIT IS DISCUSSED

  Joe Moss was delighted with the Haneys, for they talked of their native West as people should talk. They were as absolute in their convictions as a Kentuckian. For them there was no other "God's country," and as it was his latest dream to go West and "do a big thing on a cliff or something" he put off every other engagement to enjoy their racy speech. He said at the first sitting: "I've had an idea of working the Thorwaldsen trick: find some fine site out there, some wall of rock close to the railway, and hew out a monster grizzly or mountain lion. The railway could then advertise it, you see; trains could stop there 'five minutes to permit a view of Moss's Lion'; they could use a cut of it on all their folders. If there was a spring near by they could advertise the water and bottle it, a picture of my lion on the label. Ah, it is a fine scheme!"

  "'Tis so," said Haney. "I wonder nobody thought of it before."

  "It takes a Yankee, after all, to plan new suspender buttons," the sculptor replied. And all the time he talked his hands were dabbling, his thumbs gouging, his dibble cutting and smoothing.

  Haney watched him with amused glance. "Sure, I didn't know ye went at it so. I thought ye chipped each picture out o' stone." And when the process of molding in plaster was explained to him, he said: "'Tis like McArdle's trade entirely. He takes a rise in the world since I know he's an artist like yourself."

  "What is his 'line'?"

  "Pattern-maker for a stove foundry."

  Moss beamed. "Just what I'd like to be if they'd only pay a little more wages and furnish a better place to work."

  Bertha never knew when he was in earnest, so habitually mocking was his tone. But she grew towards a perception of his ideal, and dimly apprehended in him a mind far beyond any she had ever known. Mrs. Moss, almost as reticent as Mrs. Haney herself, came and went about the studio brightly, briskly, keeping vigilant eye on her husband's mail, moistening his "mud ladies," and defending him from inopportune callers, insistent beggars, and wandering models. Bertha, though sitting with the stolid patience of a Mississippi clam-fisher, was thinking at express speed. Her mind was of that highly developed type where a hint sets in motion a score of related cognitions, and a word here and there in Moss's rambling remarks instructed her like a flash of light. She was at school, in a high sense, and improving her time. The sketch was expanding into a carefully studied portrait bust and Moss was happy.

  One day a fellow-artist came in casually, and they both squinted, measured, and compared the portrait and herself with the calm absorption of a couple of prize-pig committeemen at a cattle-show. "You see, this line is shorter," the stranger said, almost laying his finger on Bertha's neck. "Not so straight, as you've got it. That's a fine line—"

  "I know it is!"

  "And you don't want to spoil it. I don't like your fad for cutting down the bust. The neck is nothing but a connecting link between the head and the bust. Now here you have a charming and youthful head and face—let the neck at least suggest the woman below."

  "Oh yes, that's good logic, provided you're after that. But what I want here is spring-time—just a fresh, alert, lovely fragment. This pure line must be kept free from any earthiness."

  "I suppose you know what you want; I won't say you don't. But if I were painting her, I'd get that sweeping line there that ends by suggesting the summer."

  They talked disjointedly, elliptically, and of course mainly of the clay; and yet Bertha grew each moment more clearly aware that they considered her not merely interesting but beautiful, and this was a most momentous and developing assurance. She had hoped to be called "good-looking," but no one thus far (excepting Ben Fordyce) had ever called her beautiful; and these judgments on the part of Joe Moss and his brother artist were made the more moving by reason of their precision of knowledge and their professional candor. They spoke as freely in discussion of her charm as if she were deaf and dumb.

  The painter, who had been introduced in a careless way as "Mr. Humiston, of New York," turned to Bertha at last, and, assuming the ordinary politeness of a human being, said: "I'd like to make a study of you, too, Mrs. Haney, if you'll permit. I can bring my canvas in here and work with Joe, so that it needn't be any trouble to you."

  Bertha, her wealth still new upon her, had no suspicion of the motives of those who addressed her, was deeply flattered by this request, and as Moss made no objection, she consented.

  The only thing that troubled Moss was her growing tendency to lapse into troubled thought. "Remember, now, you're the crocus, the first violet, or something like that—not the last rose of summer. Don't think, don't droop! There, that's right! What have you to think or droop about? When you're as old and blasé as Humiston there, you'll have a right to ponder th
e mysteries, but not now. You and I are young, thank God!"

  Humiston was dabbling at his small canvas swiftly, lightly, as unmoved by his fellow-artist as if his voice were the wind in the casement. He was a tall, sickly looking man with grizzled hair, and pale, deeply lined face. He was fresh from Paris with a small exhibition of his pictures, which were very advanced, as Mrs. Moss privately explained to Bertha. "And he's rather bitter against Americans because they don't appreciate his work. But Joe asks: 'Why should they?' They're undemocratic—little high-keyed 'precious' bits; pictures for other artists, not real paintings, or they are unacceptable otherwise. He's a wonderful technician, though, and he'll make an exquisite sketch of you."

  The Western girl-wife was completely fascinated by this small, dusky, dim, and richly colored heart of the fierce and terrible city whose material bulk alone is known to the world. To go from the crash and roar of the savage streets into this studio was like climbing from the level of the water in the Black Cañon to the sunlit, grassy peaks where the Indian pink blossoms in silence. She was of the aspiring nature. She had commonly played with children older than herself. She had read books she could not understand. She had always reached upward, and here she found herself surrounded by men and women who excited her imagination as Congdon had done. They helped her forget the doubt of herself and her future, which was gnawing almost ceaselessly in her brain, and she was sorry when Moss said to her: "Come in once more, to-morrow, and see me do the real sculptor's act. No, don't look at it" (he flung a cloth over his work); "you may look at it to-morrow."