"You ought to get a whiff of it inside his studio," answered Lonnegan. "Got every window tight shut, the room darkened, and jammed with people. Came near getting my clothes torn off wedging myself in and out," he continued, readjusting his scarf, pulling up the collar of his Prince Albert coat, and tightening the gardenia in his button-hole. "You're going down, Mac, aren't you?"
"No, going to stay right here; so is Marny and the Colonel."
"Woods won't like it."
"Can't help it. Woods ought to have better sense than to turn his studio upside down for a lot of people that don't know a Velasquez from an 'Old Oaken Bucket' chromo. Art is a religion, not a Punch and Judy show. Whole thing is vulgar. Imagine Rembrandt showing his 'Night Watch' for the first time to the rag-tag and bob-tail of Amsterdam, or Titian making a night of it over his 'Ascension.' Sacrilege, I tell you, this mixing up of ice-cream and paint; makes a farce of a high calling and a mountebank of the artist! If we are put here for anything in this world it is to show our fellow-sinners something of the beauty we see and they can't; not to turn clowns for their amusement."
Boggs and Murphy—the Irish journalist had long since become a full member—had entered and stood listening to Mac's harangue.
"Land o' Moses! Whew!" burst out the Chronic Interrupter. "What's the matter with you, Mac? You never were more mistaken in your life. You sit up here and roast yourself over the fire and you don't know what's going on outside. Woods is all right. He's got his living to make and his studio rent to pay, and his old aunt is as strong as a three-year-old and may live to be ninety. If these people want ice-cream fed to them out of oil cups and want to eat it with palette knives, let 'em do it. That doesn't make the picture any worse. You saw it. It's a bully good portrait. Fifty times better looking than the girl and some ripping good things in it—shadow tones under the hat and the brush work on the gown are way up in G. Don't you think so, Lonnegan?"
"Yes, best thing Woods has done; but Mac is partly right about the jam downstairs. Half of them didn't know Woods when they came in. One woman asked me if I was he, and when I pointed him out, beaming away, she said, 'What! that little bald-headed fellow with a red face? And is that the picture? Why, I am surprised!'
"Of course she was surprised," chimed in Mac. "What she expected to see was a six-legged goat or a cow with two tails."
Jack Stirling's head was now thrust over the Chinese screen. Jack had been South for half the winter and his genial face was the signal for a prolonged shout of welcome.
"Yes, that's me," Jack answered, "got home this morning; almighty glad to see you fellows! Mac, old man, you look more like John Gilbert grown young than ever; getting another chin on you. Lonny, shake, old fellow! Hello, Boggs! you're fat enough to kill. Mr. Murphy, glad to see you; heard you had been given a chair by Mac's fire. Oh, biggest joke on me, fellows, you ever heard. I stopped in at Woods's tea-party a few minutes ago. Lord! what a jam! and hot! Well, Florida is a refrigerator to it. Struck a pretty girl—French, I think—pretty as a picture; big hat, gown fitting like a glove, eyes, mouth, teeth—well! You remember Christine, don't you, Mac?" and he winked meaningly at our host. "Same type, only a trifle stouter. She wanted to know how old one of Woods's tapestries was, and where one of his embroideries came from, and I got her off on a divan and we were having a beautiful time when an old lady came up and called me off, and whispered in my ear that I ought to know that my charmer was her own dressmaker, who was looking up new costumes and——"