Light-Fingered Gentry

by David Graham Phillips

Boris's face was the devotee's at mention of the god. The worldliness, the aggressive animality vanished. "Leonardo alone among painters," said he. "And he reached the pinnacle in one picture only—the picture of the woman he loved yet judged."

Her own expression had changed. The least observant would have seen just then why Boris, connoisseur, had paused before her. She had dropped her mask, had come forth as the shy beauties of the field lift their heads above the snow in response to the sun of early spring. For the first time in her life she had met a human being to whom life meant precisely what it had meant to her. His own expression of exaltation passed with the impulse that had given it birth; but she did not see. He was for her Boris Raphael, artist through and through. Instead of suspicion and shrinking, her long narrow eyes, luminous, mysterious, now expressed confidence; she would never again be afraid of one who had in him what this man had revealed to her. She had always seen it in his work; she greeted it in the man himself as one greets an old, a stanch friend, tested in moods and times of sorrow and trial.

He glanced at her, glanced hastily away lest she should realize how close he had thus quickly got to her soul, shy and graceful and resplendent as a flamingo. "You will let me teach you?" said he.

"I don't understand your asking."

"Nor do I," replied he. "All I know is, I felt I must come and offer my services. It only remains for you to obey your impulse to accept."

Without further hesitation she accepted; and there was firmly established the intimate relations of master workman and apprentice, with painting, and through painting the whole of life, as the trade, to be learned. For, the arts are a group of sister peaks commanding the entire panorama of truth and beauty, of action and repose; and to learn of a master at any one of them is to be pupil to all wisdom.

Boris arranged with her to come three mornings a week to the atelier, raftered and galleried, which he had made of the top stories of two quaint old houses in Chelsea's one remaining green square. Soon he was seeing her several afternoons also, at her apartment; and they were lunching and dining together, both alone and in the company of artists and the sort of fashionable serious-idle people who seek the society of artists. The part of her shyness that was merely strangeness did not long withstand his easy, sympathetic manner, his simplicity, his adroitness at drawing out the best in any person with whom he took pains to exert himself. It required much clever maneuvering before he got her rid of the shyness that came from lack of belief in her power to interest others. The people out West, inexpert in the social art, awkward and shy with each other, often in intimate family life even, had without in the least intending it, encouraged her and confirmed her in this depressing disbelief. In all her life she had never been so well acquainted with anyone as with Boris after a week of the lessons; and with him, even after two months of friendship, she would suddenly and unaccountably close up like a sensitive plant, be embarrassed and constrained, feel and act as if he were a stranger. Self-confidence finally came through others, not at all through him. Her new acquaintances, observant, sympathetic, quickly saw what Boris pointed out to them; and by their manner, by their many and urgent invitations and similar delicate indirect compliments, they made her feel without realizing it that she was not merely tolerated for his sake, but was sought on her own account.

We hear much of the effect of things internal, little of the far more potent effect of externals. Boris, frankly materialistic, was all for externals. For him the external was not only the sign of what was within, but also was actually its creator. He believed that character was more accurately revealed in dress than in conversation, in manners than in professions. "Show me through a woman's living place," he often said, "and I will tell you more about her soul than she could tell her confessor." His one interest in Neva was her physical beauty; his one object, to develop it to the utmost of the possibilities he alone saw. But he was in no hurry. He had the assiduous patience of genius that works steadily and puts deliberate thought into every stroke. He would not spoil his creation by haste; he would not rob himself of a single one of the joys of anticipation. And his pleasure was enhanced by the knowledge that if she so much as suspected his real design, or any design at all, she would shut herself away beyond his reach.

"I want you as a model," said he one day, in the offhand manner he used with her to conceal direct personal purpose. "But you've got to make changes in your appearance—dress—way of wearing the hair—all that."

She alarmed him by coloring vividly; he had no suspicion that it was because she had been secretly using him as a model for several months. "I've hurt your vanity?" said he. "Well, I never before knew you had that sort of vanity. I fancied you gave the least possible attention to your outside."