Yes-s, admitted Istra, a little grudgingly, she was going to be at the studio that evening, though she—well, there was going to be a little party—some friends—but—yes, she’d be glad to have him come.
Grimly, Mr. Wrenn set out for Washington Square.
Since this scientific treatise has so exhaustively examined Mr. Wrenn’s reactions toward the esthetic, one need give but three of his impressions of the studio and people he found on Washington Square—namely:
(a) That the big room was bare, ill kept, and not comparable to the red-plush splendor of Mrs. Arty’s, for all its pretension to superiority. Why, a lot of the pictures weren’t framed! And you should have seen the giltness and fruit-borderness of the frames at Mrs. Arty’s!
(b) That the people were brothers-in-talk to the inmates of the flat on Great James Street, London, only far less, and friendly.
(c) That Mr. Wrenn was now a man of friends, and if the “blooming Bohemians,” as he called them, didn’t like him they were permitted to go to the dickens.
Istra was always across the room from him somehow. He found himself glad. It made their parting definite.
He was going back to his own people, he was deciding.
As he rose with elaborate boarding-house apologies to the room at large for going, and a cheerful but not intimate “Good night” to Istra, she followed him to the door and into the dark long hallway without.
“Good night, Mouse dear. I’m glad you got a chance to talk to the Silver Girl. But was Mr. Hargis rude to you? I heard him talking Single Tax—or was it Matisse?—and he’s usually rude when he talks about them.”