A Top-Floor Idyl

by George Van Schaick

But what did it matter! Happiness lay in the hollow of their hands, rosy and bright, full of wondrous promise. Yet she had written to Aunt Lucinda, dutifully, expressing hope that at some later time she might be looked upon with greater indulgence. And there had been more beautiful songs, and Paul had played, and their souls had vibrated together. Finally, a man from New York had engaged them to come over to America and give a series of concerts. When they started away, she thought she was getting a bad cold, for her voice was beginning to get a little husky. Paul asserted that the trip at sea and the long rest would certainly make everything all right. But in New York she had been compelled to call on a doctor, who was an exceedingly busy man, with hosts of patients, who sprayed her throat and gave her medicine to take and charged very high fees, and—and the voice had kept on growing huskier and—and it was no use trying to sing, and—and the engagement had been broken. And Paul had been so good and swore she would be better by and by, and he had played in concerts, without her, and everything went on very well, except her voice. Then, one day, she had told a most marvelous secret to Paul, and they had rejoiced together and been very happy. Then the war had come like a bolt from the blue, and Paul had taken the very first boat with hundreds of other reservists. She would follow him to France after the baby was born, and there she would wait for him in the dear old house of his parents, who were country people, cultivating a farm and oh! so proud of their wonderful son. They had been ever so good and kind to her. She had written to them several times, but no answer had ever come and then some one told her that the small village in which they lived had been razed to the ground. It was over there on the other side of the Marne. And now it was ever so long since she had received any word from Paul, and they had saved very little, because money came so easily, and—and now Paul was dead and she couldn't sing!

Frieda was in the room with me when the tale was told. She rushed out, and I found her, a few minutes later, in my room, her nose swollen and her eyes devastated by weeping. But she used my wash-basin and towels for plentiful ablutions and returned to the room where I left her alone with Frances Dupont, realizing the futility of a man in such circumstances.

At the end of another week our stout angel burst again into my room. Eulalie had been discharged, with mutual regrets, and little Paul was growing apace. Three and a half ounces in seven days!

"Dave! We've got to find something for Frances to do! In a very short time she will not have a penny left. Go to work at once and, in the meanwhile, I'll do my best also. Yes, I know perfectly well that the two of us will see that she doesn't suffer, but she doesn't want charity; she wants work!"

She was off again, and I knew that she would at once inquire of the butcher, the baker and the candlestick-maker in regard to positions suited to a young woman with a Murillo-face and a baby. I put on my hat and went at once to Gordon's studio, facing Central Park. I was lucky enough to find him in.

"Sit down and don't bother me," he said pleasantly. "I must use up the last of this light."

Before him stood an easel with a wonderful portrait of a young woman endowed with splendid neck and arms. He was working at some detail of the gown, which the lady had evidently sent over for him, since the garment was disposed about a large mannikin with a vacuous face. I watched delightedly the sure touches with which he reproduced the sheen of the silk. Gordon doesn't want to talk while he paints, pretending that in order to do his best work a man must bend all his energies to it, whether he is sawing wood or writing elegies.

"People wouldn't begin chatting to a fellow while he played Chopin," he told me one day. "What right have they to disturb the harmonies in a man's mind when he's creating melodies in color? Hang their impertinence!"

I presume, however, that painting a silk dress was somewhat mechanical work to him, for, after some minutes of silent toil, during which he only stepped back once to survey his work, he began to speak. Like many other people, he has not the slightest objection to the infringing of his own rules. It only behooves others to obey them.

"That's Miss Sophia Van Rossum," he told me, taking his short pipe out of his mouth and putting it down on his stool. "She's been coming in from Southampton three times a week, to pose. Drives her own car, you know, and has been arrested a dozen times for speeding. So I finished the face and hands first, and now I'm sticking in the dress. Don't need her for that."