The story knows of it because, when Anne had left the room, Mrs. Aiken looked up from the newspaper, where she had found what she was looking for, to say: "I think, Aunt Prissy, you might be more careful before the servants."
Her aunt replied with dignity: "What you are referring to, my dear Euphemia, I cannot profess to understand." Of course she did, perfectly well. What she meant was, "I know you cannot get a conviction, so I can tell a fib." Mankind, securely entrenched, fibs freely.
"Why—'Miss Euphemia,' of course!" said the niece, quoting incisively. "But I know it's no use my asking you to pay the slightest attention." She became absorbed in her paper.
"I think you are nonsensical, my dear," said the aunt. She retired behind something morally equivalent to the lines of Torres Vedras; but was still audible outside, saying: "I think you might say whether you have, or have not, found about Mr. Adolphus Groob."
The niece made no response for a moment, but continued reading; then said, as one who, coming up from diving, speaks without quite locating his audience: "Oh yes—there's about Mr. Groob here. I can't read it all, there's such a lot. Is there some coffee left? ... Three-quarters of a cup, please!"
Please observe that, although this aunt and niece always conversed more or less as if each was straining the patience of the other past endurance, no sort of ill-will was thereby implied on either part. It may be that it was only that they emphasized the ordinary intercourse of British families. Perhaps you know how much the average foreign family nags, en famille. We do not.
Mrs. Aiken read the newspaper paragraph aloud, skipping portions. What she read described the formation of the New Modernism, the Artistic Society about which so much was being said among well-informed circles of the Art World, with the reservation that nothing must be accepted as official. The Editor was breaking confidence in telling so much; but then he really was unable, with that pitiful heart of his, to bear the yearning faces and heartrending cries for information of his reading public. The only course open to him was to put aside all conscientious scruples, and divulge what had reached him, as it were, under the seal of confession. Such a thirst must be satiated, or worse might come of it. The object of this Society was to develope its promoters' ideas, and exhibit their works in Bond Street. The underlying theory of their new Gospel of Art appeared to be—only the writer did not express it so coarsely—that success in pictorial effort, in the future, must turn on the artist never having learned to draw, and not knowing how to paint. What was wanted was clearly his unimpaired Self, unsoiled by the instruction of the Schools. The near future was entitled to liberation from the stilted traditions of the remote past, not only in Painting, but in Sculpture, Music, Poetry, the Drama—what not? Here was an opportunity to make a beginning, seized by a brilliant coterie of talented young men, whom a rare chance had brought together under one roof. If the writer was not much mistaken, Pimlico Studios stood a fair chance of becoming the Mecca of the Art World.
"I can't read all this," said the niece. "I don't see where Mr. Groob comes in. Oh yes—it's here! 'The Modern Zurbaran.'..." This gentleman was, of course, the Artist familiarly spoken of as "Dolly" at the Pimlico Studios. Mrs. Aiken went on reading to herself, and then said suddenly: "I do hope Reginald won't be a fool, and make himself responsible for anything."
"Mr. Adolphus Groob would be able to tell us all about it," said Miss Priscilla. "His sister Arethusa is almost sure to call this afternoon, and you can ask her to find out."
"I shall do nothing of the sort, and I beg you won't say anything to her. I particularly dislike Mr. Groob, and just now nothing could be more unpleasant to me. Please no Mr. Groob on any account!"