Mrs. Carstairs had been standing all this time with an unframed picture in one hand, and a dust brush in the other, and her husband had been sitting on the rolled-up Turkish rug and trying not to look at her.
"I'd like to do it very well," he said, simply.
"Well, that's good," replied the railroad king, heartily. "You'll need a retaining fee, I suppose, like lawyers do; and you put your best work on the two pictures and remember what they mean to me, and put the spirit of home into them. It's my home you're painting, do you understand? I think you do. That's why I asked you instead of asking any of the others. Now, you know how I feel about it, and you put the feeling into the picture; and as to the price, you ask whatever you please, and you live at my houses and at my expense until the work is done. If I don't see you again," he said, as he laid a check down on the table among the brushes and paint tubes and cigars, "I will wish you a merry Christmas." Then he hurried out and banged the door behind him and escaped their thanks, and left them alone together.
The pictures of Breton life and landscape were exhibited a year later in Paris, and in the winter in New York, and, as they bore the significant numerals of the Salon on the frame, they were immediately appreciated, and many people asked the price. But the attendant said they were already sold to Mr. Cole, the railroad king, who had purchased also the great artistic success of the exhibition—an old farm-house with a wintry landscape, and the word "Home" printed beneath it.
ANDY M'GEE'S CHORUS GIRL
Andy M'Gee was a fireman, and was detailed every evening to theatre duty at the Grand Opera House, where the Ada Howard Burlesque and Comic Opera Company was playing "Pocahontas." He had nothing to do but to stand in the first entrance and watch the border lights and see that the stand lights in the wings did not set fire to the canvas. He was a quiet, shy young man, very strong-looking and with a handsome boyish face. Miss Agnes Carroll was the third girl from the right in the first semi-circle of amazons, and very beautiful. By rights she should have been on the end, but she was so proud and haughty that she would smile but seldom, and never at the men in front. Brady, the stage manager, who was also the second comedian, said that a girl on the end should at least look as though she were enjoying herself, and though he did not expect her to talk across the footlights, she might at least look over them once in a while, just to show there was no ill feeling. Miss Carroll did not agree with him in this, and so she was relegated to the third place, and another girl who was more interested in the audience and less in the play took her position. When Miss Carroll was not on the stage she used to sit on the carpeted steps of the throne, which were not in use after the opening scene, and read novels by the Duchess, or knit on a pair of blue woollen wristlets, which she kept wrapped up in a towel and gave to the wardrobe woman to hold when she went on. One night there was a quicker call than usual, owing to Ada Howard's failing to get her usual encore for her waltz song, and Brady hurried them. The wardrobe woman was not in sight, so Agnes handed her novel and her knitting to M'Gee and said: "Will you hold these for me until I come off?" She looked at him for the first time as she handed him the things, and he felt, as he had felt several times before, that her beauty was of a distinctly disturbing quality. There was something so shy about her face when she was not on the stage, and something so kindly, that he stood holding the pieces of blue wool, still warm from her hands, without moving from the position he had held when she gave them to him. When she came off he gave them back to her and touched the visor of his cap as she thanked him. One of the other beautiful amazons laughed and whispered, "Agnes has a mash on the fire laddie," which made the retiring Mr. M'Gee turn very red. He did not dare to look and see what effect it had on Miss Carroll. But the next evening he took off his hat to her, and she said "Good-evening," quite boldly. After that he watched her a great deal. He thought he did it in such a way that she did not see him, but that was only because he was a man; for the other women noticed it at once, and made humorous comments on it when they were in the dressing-rooms.
Old man Sanders, who had been in the chorus of different comic-opera companies since he was twenty years old, and who was something of a pessimist, used to take great pleasure in abusing the other members of the company to Andy M'Gee, and in telling anecdotes concerning them which were extremely detrimental to their characters. He could not find anything good to say of any of them, and M'Gee began to believe that the stage was a very terrible place indeed. He was more sorry for this, and he could not at first understand why, until he discovered that he was very much interested in Miss Agnes Carroll, and her character was to him a thing of great and poignant importance. He often wished to ask old Sanders about her, but he was afraid to do so, partly because he thought he ought to take it for granted that she was a good girl, and partly because he was afraid Sanders would tell him she was not. But one night as she passed them, as proud and haughty looking as ever, old Sanders grunted scornfully, and M'Gee felt that he was growing very red.
"Now, there is a girl," said the old man, "who ought to be out of this business. She's too good for it, and she'll never get on in it. Not that she couldn't keep straight and get on, but because she is too little interested in it, and shows no heart in the little she has to do. She can sing a little bit, but she can't do the steps."
"Then why does she stay in it?" said Andy M'Gee.
"Well, they tell me she's got a brother to support. He's too young or too lazy to work, or a cripple or something. She tried giving singing lessons, but she couldn't get any pupils, and now she supports herself and her brother with this."