Morris made no reply, but his expression showed he was only silenced, not convinced. He knew his old friend Boris was a great painter—the prices he got for his portraits proved it; and the portraits themselves were certainly interesting, had the air that irradiates from every work of genius, whether one likes or appreciates the work or not. He knew that the basis of Raphael's genius was in his marvelous sight—"simply seeing where others will not" was Boris's own description of his gift. Yet when Boris reported to him what he saw, he was incredulous. "An artist's wild imagination," he said to himself. In the world of the blind, the dim-eyed man is king, not the seeing man; the seeing man—the "seer"—passes for mad, and the blind follow those with not enough sight to rouse the distrust of their flock.
When the painter returned to the drawing-room Neva was gone. As his sight did not fail him when he watched the motions of his bright, blond little friend, Mrs. Joe, he suspected her of having had a hand in Neva's early departure. And she thought she had herself. But, in fact, Neva left because she was too shy to face again the man whose work she had so long reverenced. She knew she ought to treat him as an ordinary human being, but she could not; and she yielded to the impulse to fly.
"You must take me to sec your cousin," said he, his chagrin plain.
"Whenever you like," agreed Letty, with that elaborate graciousness which raises a suspicion of insincerity in the most innocent mind.
"Thank you," said Boris. And to her surprise and relief he halted there, without attempting to pin her down to day and hour. "He asked simply to be polite," decided she, "and perhaps to irritate me a little. He's full of those feminine tricks."
IV
THE FOSDICK FAMILY
In each of America's great cities, East, West, South, Far West, a cliff of marble glistening down upon the thoroughfare where the most thousands would see it daily; armies of missionaries, so Fosdick liked to call them, moving everywhere among the people; other armies of officers and clerks, housed in the clifflike palaces and garnering the golden harvests reaped by the missionaries—such was the scene upon which Horace Armstrong looked out from his aerie in the vastest of the palaces o£ the O.A.D. And it inspired him.
Institutions, like individuals, have a magnetism, a power to attract and to hold, that is quite apart from any analyzable quality or characteristic. Armstrong had grown up in the O.A.D., had preached it as he rose in its service until he had preached belief in it into himself—a belief that was unshaken by the series of damning exposures of its Wall Street owners and users, and had survived his own discoveries, as the increasing importance of his successive positions had forced the "inside ring" to let him deeper and deeper into the secrets. He had not been long in the presidency before he saw that the whole system for gathering in more and more policy holders, however beneficent incidental results might be, had as its sole purpose the drawing of more and more money within reach of greedy, unclean hands. The fact lay upon the surface of the O.A.D. as plain as a great green serpent sprawled upon the ooze of a marsh. Why else would these multimillionaire money hunters interest themselves in insurance? And not a day passed without his having to condemn and deplore—in his own mind—acts of the Fosdick clique. But morals are to a great extent a matter of period and class; Armstrong, busy, unanalytic, "up-to-date" man of affairs, accepted without much question the current moral standards of and for the man of affairs. And when he saw the inside ring "going too far," here and there, now and then, he no more thought of denouncing it and abandoning his career than a preacher would think of resigning a bishopric because he found that his fellow bishops had not been made more than human by the laying on of hands.
Where he could, Armstrong ignored; where he could not ignore—he told himself that the end excused the means.