Mr. Shodd, having a point to gain, went about it with elephantine grace and dexterity. The portrait he had seen at Rocjean's studio he was determined to have. He invited the artist to dine with him—the artist sent his regrets; to accompany him, 'with the ladies,' in his carriage to Tivoli—the artist politely declined the invitation; to a conversazione, the invitation from Mrs. Shodd—a previous engagement prevented the artist's acceptance.
Mr. Shodd changed his tactics. He discovered at his banker's one day a keen, communicative, wiry, shrewd, etc., etc., enterprising, etc., 'made a hundred thousand dollars' sort of a little man, named Briggs, who was traveling in order to travel, and grumble. Mr. Shodd 'came the ignorant game' over this Briggs; pumped him, without obtaining any information, and finally turned the conversation on artists, denouncing the entire body as a set of the keenest swindlers, and citing the instance of one he knew who had a painting which he believed it would be impossible for any man to buy, simply because the artist, knowing that he (Shodd) wished it, would not set a price on it, so as to have a very high one offered (!) Mr. Briggs instantly was deeply interested. Here was a chance for him to display before Shodd of Shoddsville his shrewdness, keenness, and so forth. He volunteered to buy the painting.
In Rome, an artist's studio may be his castle, or it may be an Exchange. To have it the first, you must affix a notice to your studio-door announcing that all entrance of visitors to the studio is forbidden except on, say, 'Monday from twelve A.M. to three P.M. This is the baronial manner. But the artist who is not wealthy or has not made a name, must keep an Exchange, and receive all visitors who choose to come, at almost any hours—model hours excepted. So Briggs, learning from Shodd, by careful cross-questioning, the artist's name, address, and a description of the painting, walked there at once, introduced himself to Rocjean, shook his hand as if it were the handle of a pump upon which he had serious intentions, and then began examining the paintings. He looked at them all, but there was no portrait. He asked Rocjean if he painted portraits; he found out that he did not. Finally, he told the artist that he had heard some one say—he did not remember who—that he had seen a very pretty head in his studio, and asked Rocjean if he would show it to him.
'You have seen Mr. Shodd lately, I should think?' said the artist, looking into the eyes of Mr. Briggs.
A suggestion of a clean brick-bat passed under a sheet of yellow tissue-paper was observable in the hard cheeks of Mr. Briggs, that being the final remnant of all appearance of modesty left in the sharp man, in the shape of a blush.
'Oh! yes; every body knows Shodd—man of great talent—generous,' said Briggs.
'Mr. Shodd may be very well known,' remarked Rocjean measuredly, 'but the portrait he saw is not well known; he and his family are the only ones who have seen it. Perhaps it may save you trouble to know that the portrait I have several times refused to sell him will never be sold while I live. The common opinion that an artist, like a Jew, will sell the old clo' from his back for money, is erroneous.'
Mr. Briggs shortly after this left the studio, slightly at a discount, and as if he had been measured, as he said to himself; and then and there determined to say nothing to Shodd about his failing in his mission to the savage artist. But Shodd found it all out in the first conversation he made with Briggs; and very bitter were his feelings when he learnt that a poor devil of an artist dared possess any thing he could not buy, and moreover had a quiet moral strength which the vulgar man feared. In his anger, Shodd, with his disregard for truth, commenced a fearful series of attacks against the artist, regaling every one he dared to with the coarsest slanders, in the vilest language, against the painter's character. A very few days sufficed to circulate them, so that they reached Rocjean's ears; a very few minutes passed before the artist presented himself to the eyes of Shodd, and, fortunately finding him alone, told him in four words, 'You are a slanderer;' mentioning to him, beside, that if he ever uttered another slander against his name, he should compel him to give him instantaneous satisfaction, and that, as an American, Shodd knew what that meant.
It is needless to say that a liar and slanderer is a coward; consequently Mr. Shodd, with the consequences before his eyes, never again alluded to Rocjean, and shortly left the city for Naples, to bestow the light of his countenance there in his great character of Art Patron.