“Then put it into the exhibition.”
The sculptor, who had gone back to scraping the chin of the famous public man on whose bust he was at work, stabbed him to the heart with his modeling-tool, and turned to Ferris and his friend. He slanted his broad red beard for a sidelong look at the picture, and said: “I know what you mean, Ferris. It’s hard, and it’s feeble in some ways and it looks a little too much like experimenting. But it isn’t so infernally bad.”
“Don’t be fulsome,” responded Ferris, jadedly. He was thinking in a thoroughly vanquished mood what a tragico-comic end of the whole business it was that poor Don Ippolito should come to his rescue in this fashion, and as it were offer to succor him in his extremity. He perceived the shamefulness of suffering such help; it would be much better to starve; but he felt cowed, and he had not courage to take arms against this sarcastic destiny, which had pursued him with a mocking smile from one lower level to another. He rubbed his forehead and brooded upon the picture. At least it would be some comfort to be rid of it; and Don Ippolito was dead; and to whom could it mean more than the face of it?
His friend had his way about framing it, and it was got into the exhibition. The hanging-committee offered it the hospitalities of an obscure corner; but it was there, and it stood its chance. Nobody seemed to know that it was there, however, unless confronted with it by Ferris’s friend, and then no one seemed to care for it, much less want to buy it. Ferris saw so many much worse pictures sold all around it, that he began gloomily to respect it. At first it had shocked him to see it on the Academy’s wall; but it soon came to have no other relation to him than that of creatureship, like a poem in which a poet celebrates his love or laments his dead, and sells for a price. His pride as well as his poverty was set on having the picture sold; he had nothing to do, and he used to lurk about, and see if it would not interest somebody at last. But it remained unsold throughout May, and well into June, long after the crowds had ceased to frequent the exhibition, and only chance visitors from the country straggled in by twos and threes.
One warm, dusty afternoon, when he turned into the Academy out of Fourth Avenue, the empty hall echoed to no footfall but his own. A group of weary women, who wore that look of wanting lunch which characterizes all picture-gallery-goers at home and abroad, stood faint before a certain large Venetian subject which Ferris abhorred, and the very name of which he spat out of his mouth with loathing for its unreality. He passed them with a sombre glance, as he took his way toward the retired spot where his own painting hung.
A lady whose crapes would have betrayed to her own sex the latest touch of Paris stood a little way back from it, and gazed fixedly at it. The pose of her head, her whole attitude, expressed a quiet dejection; without seeing her face one could know its air of pensive wistfulness. Ferris resolved to indulge himself in a near approach to this unwonted spectacle of interest in his picture; at the sound of his steps the lady slowly turned a face of somewhat heavily molded beauty, and from low-growing, thick pale hair and level brows, stared at him with the sad eyes of Florida Vervain. She looked fully the last two years older.
As though she were listening to the sound of his steps in the dark instead of having him there visibly before her, she kept her eyes upon him with a dreamy unrecognition.
“Yes, it is I,” said Ferris, as if she had spoken.
She recovered herself, and with a subdued, sorrowful quiet in her old directness, she answered, “I supposed you must be in New York,” and she indicated that she had supposed so from seeing this picture.
Ferris felt the blood mounting to his head. “Do you think it is like?” he asked.