"It is much pleasanter here," cried; Kitty, as she moved about the parlor, transforming the commonplace aspect of the room. "And it is cheap, too. I thought Frau Tisch would ask more than Frau Raben."
"It is less because we club together," said Fräulein Vogel.
Kitty might have suspected something if her new friend had not had the name of being so close-fisted. Who would dream that Hedwig Vogel could be free-handed?—she who would beat a gemÃ¥se-frau out of two cents; she who refused to subscribe to the fund for painters' widows, declaring that it was as likely she would leave a widow as be left one. She was not susceptible, she cared naught for sweet smiles and gentle ways. That she, a gaunt, grim, brusque woman of fifty, could suddenly feel all the stifled mother-love within her spring up,—that was preposterous, the vain imagining of a romancer.
They worked together, these two, in Hedwig Vogel's studio, and Kitty strove to make up for her lack of talent by her abundance of patience.
"Why did you decide to be a painter?" Fräulein Vogel asked her one day.
"Because I had a start in that line," Kitty answered. "If I had had a start in music I should have tried to play or sing. I wonder if I could sing? They say everybody has a voice. People are just like fields: plough 'em up, plant cabbages, plant potatoes, you can raise some sort of a crop. How do you happen to be a painter?"
Hedwig Vogel paused, palette in one hand, brush in the other. "Because I would rather paint than eat," she answered.
"That is genius," said Kitty solemnly. "I would rather eat. That is lack of genius. But because I want to eat I paint. That is—what would you call that?"
"You have a daub of ochre on your nose," said Fräulein Vogel.
"Anyway," Kitty remarked after a while, "if worse came to worst I could teach. There is German. Now, I really speak German well, don't I? I could teach that."