"What is it that women"—he went on, surprised by the steadiness of his voice, "some women—do to four walls, a floor, and ceiling, and a few pieces of furniture to get a result like this? It isn't a question of money. The more one spends in trying to get it, the worse off he is."
"It seems to me," said she, "that, in arranging a place to live, the one thing to consider is that it's not for show or for company, but to live in—day and night, in all kinds of weather, and in all kinds of moods. Make it to suit yourself, and then it'll fit you and be like you—and those who care for you can't but be pleased with it."
"It does resemble you—here," said he. "And it doesn't suggest a palace or an antique store or a model room in a furniture display, or an auction room.... You work hard?"
His glance had come back to her, to linger on the graceful lines of her throat and slim, pallid neck, revealed by the rounding out of her tea-gown. Never before had he been drawn to note the details of a woman's costume. He would not have believed garments could be surcharged with all that is magnetic in feminine to masculine as was this dress of cream white edged with narrow bands of sable.
"It would be impossible not to work, with Raphael to spur one on," was her reply. Her accent in pronouncing that name gave him the desire to grind something to powder between his strong, white teeth. "The better I know him, the more wonderful he seems," continued she, a gleam in her eyes that would have made a Raphael suspect she was not unaware of the emotion Armstrong was trying to conceal. "I used to think his work was great; but now it seems a feeble expression of him—of ideas he, nor no man, could ever materialize for a coarse sense like sight."
"You don't like his work, then?" said Armstrong, pleased.
Neva looked indignant. "He's the best we have—one of the best that ever lived," exclaimed she. "I didn't mean his work by itself wasn't great, but that it seemed inadequate, compared with the man. When one meets most so-called great men—your great men downtown for example—one realizes that they owe almost everything to their slyness, that they steal the labor of the hands and brains of others who are superior to them in every way but craft and unscrupulousness. A truly great man, a man like Boris Raphael, dwarfs his reputation."
Armstrong suspected a personal thrust, a contrast between him and Boris, and was accordingly uncomfortable. "I'd like to see some of your work," said he, to shift the subject.
"Not to-day. I don't feel in the mood."
"You mean, you think I wouldn't care about it—that I never was interested in that sort of thing."