As I brisked out of bed the following morning at half-after six, I could not but wonder rather nervously what the day might have in store for me. I was obliged to admit that what I was in for looked a bit thick. As I opened my door I heard stealthy footsteps down the hall and looked out in time to observe Cousin Egbert entering his own room. It was not this that startled me. He would have been abroad, I knew, for the ham and eggs that were forbidden him. Yet I stood aghast, for with the lounge-suit of tweeds I had selected the day before he had worn his top-hat! I am aware that these things I relate of him may not be credited. I can only put them down in all sincerity.
I hastened to him and removed the thing from his head. I fear it was not with the utmost deference, for I have my human moments.
“It’s not done, sir,” I protested. He saw that I was offended.
“All right, sir,” he replied meekly. “But how was I to know? I thought it kind of set me off.” He referred to it as a “stove-pipe” hat. I knew then that I should find myself overlooking many things in him. He was not a person one could be stern with, and I even promised that Mrs. Effie should not be told of his offence, he promising in turn never again to stir abroad without first submitting himself to me and agreeing also to wear sock-suspenders from that day forth. I saw, indeed, that diplomacy might work wonders with him.
At breakfast in the drawing-room, during which Cousin Egbert earned warm praise from Mrs. Effie for his lack of appetite (he winking violently at me during this), I learned that I should be expected to accompany him to a certain art gallery which corresponds to our British Museum. I was a bit surprised, indeed, to learn that he largely spent his days there, and was accustomed to make notes of the various objects of interest.
“I insisted,” explained Mrs. Effie, “that he should absorb all the culture he could on his trip abroad, so I got him a notebook in which he puts down his impressions, and I must say he’s done fine. Some of his remarks are so good that when he gets home I may have him read a paper before our Onwards and Upwards Club.”
Cousin Egbert wriggled modestly at this and said: “Shucks!” which I took to be a term of deprecation.
“You needn’t pretend,” said Mrs. Effie. “Just let Ruggles here look over some of the notes you have made,” and she handed me a notebook of ruled paper in which there was a deal of writing. I glanced, as bidden, at one or two of the paragraphs, and confess that I, too, was amazed at the fluency and insight displayed along lines in which I should have thought the man entirely uninformed. “This choice work represents the first or formative period of the Master,” began one note, “but distinctly foreshadows that later method which made him at once the hope and despair of his contemporaries. In the ‘Portrait of the Artist by Himself’ we have a canvas that well repays patient study, since here is displayed in its full flower that ruthless realism, happily attenuated by a superbly subtle delicacy of brush work——” It was really quite amazing, and I perceived for the first time that Cousin Egbert must be “a diamond in the rough,” as the well-known saying has it. I felt, indeed, that I would be very pleased to accompany him on one of his instructive strolls through this gallery, for I have always been of a studious habit and anxious to improve myself in the fine arts.
“You see?” asked Mrs. Effie, when I had perused this fragment. “And yet folks back home would tell you that he’s just a——” Cousin Egbert here coughed alarmingly. “No matter,” she continued. “He’ll show them that he’s got something in him, mark my words.”
“Quite so, Madam,” I said, “and I shall consider it a privilege to be present when he further prosecutes his art studies.”