A flicker of surprise followed by a flicker of drawn intensity ran over his features, and he studied Jack in a long glance, which he masked just in time to save it from being a stare. Jack was conscious of the scrutiny. He flushed slightly and waited for some word to explain it; but none came. Jasper Ewold's Olympian geniality returned in a spontaneous flood.
"Come inside, Jack Wingfield," he said. "Come inside, Sir Chaps—for that is how I shall call you."
The very drum-beat of hospitality was in his voice. It was a wonderful voice, deep and warm and musical; not to be forgotten.
V
A SMILE AND A SQUARE CHIN
When a man comes to the door book in hand and you have the testimony of the versatility and breadth of his reading in half a bushel of mail for him, you expect to find his surroundings in keeping. But in Jasper Ewold's living-room Jack found nothing of the kind.
Heavy, natural beams supported the ceiling. On the gray cement walls were four German photographs of famous marbles. The Venus de Milo looked across to the David of Michael Angelo; the Flying Victory across to Rodin's Thinker. In the centre was a massive Florentine table, its broad top bare except for a big ivory tusk paper-knife free from any mounting of silver. On the shelf underneath were portfolios of the reproductions of paintings.
An effect which at first was one of quiet spaciousness became impressive and compelling. Its simplicity was without any of the artificiality that sometimes accompanies an effort to escape over-ornamentation. No one could be in the room without thinking through his eyes and with his imagination. Wherever he sat he would look up to a masterpiece as the sole object of contemplation.
"This is my room. Here, Mary lets me have my way," said Jasper Ewold.
"And it is not expensive."
"The Japanese idea of concentration," said Jack.