Jeremiah McNulty rescued some loose memoranda from the absent-minded pokings of his caller's plump forefinger and scratched his chin.
"You were pretty favourably impressed, weren't you?" asked Roscoe Orlando, leaning forward across the corner of the other's desk. "I was. I thought he had something in him, and something behind him. Seemed to me like a very dependable chap—for one in that line. These artists, you know,—erratic, notional, irresponsible. You never feel sure how you have them; you can't treat with them as you can with a downright, sensible, methodical business-man. I assure you I've heard the most astonishing tales about them. There's Whistley, for example—sort of sharp, perverse spoiled child, I should say. And the time my own brother-in-law had over the portrait painted by that man from Sweden! We've got to make up our minds to be patient with them, to humour them. But Dill, now——" Roscoe Orlando Gibbons ran his fingers through his graying whiskers and waited for Jeremiah's belated observation.
Jeremiah took his time in making it. He had accompanied his granddaughter to Daffingdon Dill's studio, but he was in no haste to formulate his impressions. His eyes were still blinking at the duskiness of the place, his nose was still sniffing the curious odour of burning pastilles, his ears were still full of the low-voiced chatter of a swarm of idle fashionables, and his feet (that humpy tiger-rug once passed) still had a lingering sense of the shining slipperiness of the brown polished floor. That floor!—poor Jeremiah had stood upon it as helpless as a cripple on a wide glare of ice, at a cruelly embarrassing disadvantage and wholly at the mercy of that original and anomalous person in the brown Van Dyck beard. Vainly had he cast about for something to lay hold of. None of the people there had he ever seen before; none of the topics bandied about so lightly and carelessly had he ever heard broached before. The sole prop upon which he had tried to repose his sinking spirit had looked indeed like an oak, but had turned out to be merely a broken reed. "That's the only man here," he had muttered, on looking across toward a stalwart, broad-shouldered figure standing half in the shadow of some frayed and discoloured drapery. "He's sort o' like one of those 'swells,' in that slick new coat and all, but I'll risk him." However, this robust young man had shown himself as prompt as any in his use of the teasing jargon of the place; he assumed on Jeremiah's part some interest and some knowledge and dogmatized as readily and energetically on the general concerns of culture as any of the others. Jeremiah, prostrate, soon moved away.
"Who is he—that tall young fellow over by that curtain?" he could not refrain from asking his granddaughter. How, he was thinking to himself,—how could such a big, vigorous young man betray such a range of trivial interests?
"Why, grandpa," Preciosa had returned reproachfully, "that's Mr.
Joyce—Abner Joyce, the great writer. You've heard of him, surely?"
"H'm," said Jeremiah. He hadn't.
"And that lovely creature in the long, bottle-green coat," Preciosa went on, "is his wife. Isn't it stylish, though?—they're just back from London. Aren't they a splendid couple? And isn't she just the ideal type of the young matron——?"
Jeremiah touched bottom. It was all of a piece—everything was growing worse and worse. "Young matron," indeed!—where had his grandchild picked up that precious phrase? She was growing all too worldly-wise for his simple old mind. His abashed eyes turned away from her and began to blink at the twinkling candles on the tea-table; it stood there like an altar raised for the celebration of some strange, fearsome ritual—an incident in the dubious life toward which a heartless and ambitious daughter-in-law was pushing his poor little Preciosa. He almost felt like grasping her by the arm and bolting with her from the place.
But most uncertain of all these uncertainties had been the young painter himself. He could not be brought down to business. He dodged; he slipped away; he procrastinated. He wouldn't show his work; he wouldn't talk in figures; he wouldn't come within a mile of a contract. Instead, he slid about, asking people if they wouldn't have another biscuit, dropping a word to a lady here and there about Pater or Morelli (who were probably somewhere over there in the dark), confabulating determinedly with people who were pointed out as authors (more of them!), urging other people, who were musical, in the direction of the piano….
Some of these considerations Jeremiah haltingly placed before Roscoe
Orlando.