was suffering from that most terrible of all maladies, uncertainty of soul and inability to truly find himself. At times he was not sure whether he was cut out to be a great violinist or a great composer, or merely a great teacher, which last he was never willing really to admit. “I am an arteest,” he was fond of saying. “Ho, how I suffer from my temperament!” And again: “These dogs! These cows! These pigs!” This of other people. The quality of his playing was exceedingly erratic, even though at times it attained to a kind of subtlety, tenderness, awareness, and charm which brought him some attention. As a rule, however, it reflected the chaotic state of his own brain. He would play violently, feverishly, with a wild passionateness of gesture which robbed him of all ability to control his own technic.
“Oh, Harold!” Rita used to exclaim at first, ecstatically. Later she was not so sure.
Life and character must really get somewhere to be admirable, and Harold, really and truly, did not seem to be getting anywhere. He taught, stormed, dreamed, wept; but he ate his three meals a day, Rita noticed, and he took an excited interest at times in other women. To be the be-all and end-all of some one man’s life was the least that Rita could conceive or concede as the worth of her personality, and so, as the years went on and Harold began to be unfaithful, first in moods, transports, then in deeds, her mood became dangerous. She counted them up—a girl music pupil, then an art student, then the wife of a banker at whose house Harold played socially. There followed strange, sullen moods on the part of Rita, visits home, groveling repentances on the part of Harold, tears, violent, passionate reunions, and then the same thing over again. What would you?
Rita was not jealous of Harold any more; she had lost faith in his ability as a musician. But she was disappointed that her charms were not sufficient to blind him to all others. That was the fly in the ointment. It was an affront to her beauty, and she was still beautiful. She was unctuously full-bodied, not quite so tall as Aileen, not really as large, but rounder and plumper, softer and more seductive. Physically she was not well set up, so vigorous; but her eyes and mouth and the roving character of her mind held a strange lure. Mentally she was much more aware than Aileen, much more precise in her knowledge of art, music, literature, and current events; and in the field of romance she was much more vague and alluring. She knew many things about flowers, precious stones, insects, birds, characters in fiction, and poetic prose and verse generally.
At the time the Cowperwoods first met the Sohlbergs the latter still had their studio in the New Arts Building, and all was seemingly as serene as a May morning, only Harold was not getting along very well. He was drifting. The meeting was at a tea given by the Haatstaedts, with whom the Cowperwoods were still friendly, and Harold played. Aileen, who was there alone, seeing a chance to brighten her own life a little, invited the Sohlbergs, who seemed rather above the average, to her house to a musical evening. They came.
On this occasion Cowperwood took one look at Sohlberg and placed him exactly. “An erratic, emotional temperament,” he thought. “Probably not able to place himself for want of consistency and application.” But he liked him after a fashion. Sohlberg was interesting as an artistic type or figure—quite like a character in a Japanese print might be. He greeted him pleasantly.
“And Mrs. Sohlberg, I suppose,” he remarked, feelingly, catching a quick suggestion of the rhythm and sufficiency and naive taste that went with her. She was in simple white and blue—small blue ribbons threaded above lacy flounces in the skin. Her arms and throat were deliciously soft and bare. Her eyes were quick, and yet soft and babyish—petted eyes.
“You know,” she said to him, with a peculiar rounded formation of the mouth, which was a characteristic of her when she talked—a pretty, pouty mouth, “I thought we would never get heah at all. There was a fire”—she pronounced it fy-yah—“at Twelfth Street” (the Twelfth was Twalfth in her mouth) “and the engines were all about there. Oh, such sparks and smoke! And the flames coming out of the windows! The flames were a very dark red— almost orange and black. They’re pretty when they’re that way—don’t you think so?”
Cowperwood was charmed. “Indeed, I do,” he said, genially, using a kind of superior and yet sympathetic air which he could easily assume on occasion. He felt as though Mrs. Sohlberg might be a charming daughter to him— she was so cuddling and shy—and yet he could see that she was definite and individual. Her arms and face, he told himself, were lovely. Mrs. Sohlberg only saw before her a smart, cold, exact man—capable, very, she presumed— with brilliant, incisive eyes. How different from Harold, she thought, who would never be anything much—not even famous.
“I’m so glad you brought your violin,” Aileen was saying to Harold, who was in another corner. “I’ve been looking forward to your coming to play for us.”
“Very nize ov you, I’m sure,” Sohlberg replied, with his sweety drawl. “Such a nize plaze you have here—all these loafly books, and jade, and glass.”
He had an unctuous, yielding way which was charming, Aileen thought. He should have a strong, rich woman to take care of him. He was like a stormy, erratic boy.
After refreshments were served Sohlberg played. Cowperwood was interested by his standing figure—his eyes, his hair—but he was much more interested in Mrs. Sohlberg, to whom his look constantly strayed. He watched her hands on the keys, her fingers, the dimples at her elbows. What an adorable mouth, he thought, and what light, fluffy hair! But, more than that, there was a mood that invested it all—a bit of tinted color of the mind that reached him and made him sympathetic and even passionate toward her. She was the kind of woman he would like. She was somewhat like Aileen when she was six years younger (Aileen was now thirty-three, and Mrs. Sohlberg twenty-seven), only Aileen had always been more robust, more vigorous, less nebulous. Mrs. Sohlberg (he finally thought it out for himself) was like the rich tinted interior of a South Sea oyster-shell—warm, colorful, delicate. But there was something firm there, too. Nowhere in society had he seen any one like her. She was rapt, sensuous, beautiful. He kept his eyes on her until finally she became aware that he was gazing at her, and then she looked back at him in an arch, smiling way, fixing her mouth in a potent line. Cowperwood was captivated. Was she vulnerable? was his one thought. Did that faint smile mean anything more than mere social complaisance? Probably not, but could not a temperament so rich and full be awakened to feeling by his own? When she was through playing he took occasion to say: “Wouldn’t you like to stroll into the gallery? Are you fond of pictures?” He gave her his arm.
“Now, you know,” said Mrs. Sohlberg, quaintly—very captivatingly, he thought, because she was so pretty —“at one time I thought I was going to be a great artist. Isn’t that funny! I sent my father one of my drawings inscribed ‘to whom I owe it all.’ You would have to see the drawing to see how funny that is.”
She laughed softly.
Cowperwood responded with a refreshed interest in life. Her laugh was as grateful to him as a summer wind. “See,” he said, gently, as they entered the room aglow with the soft light produced by guttered jets, “here is a Luini bought last winter.” It was “The Mystic Marriage of St. Catharine.” He paused while she surveyed the rapt expression of the attenuated saint. “And here,” he went on, “is my greatest find so far.” They were before the crafty countenance of Caesar Borgia painted by Pinturrichio.
“What a strange face!” commented Mrs. Sohlberg, naively. “I didn’t know any one had ever painted him. He looks somewhat like an artist himself, doesn’t he?” She had never read the involved and quite Satanic history of this man, and only knew the rumor of his crimes and machinations.
“He was, in his way,” smiled Cowperwood, who had had an outline of his life, and that of his father, Pope Alexander VI., furnished him at the time of the purchase. Only so recently had his interest in Caesar Borgia begun. Mrs. Sohlberg scarcely gathered the sly humor of it.
“Oh yes, and here is Mrs. Cowperwood,” she commented, turning to the painting by Van Beers. “It’s high in key, isn’t it?” she said, loftily, but with an innocent loftiness that appealed to him. He liked spirit and some presumption in a woman. “What brilliant colors! I like the idea of the garden and the clouds.”
She stepped back, and Cowperwood, interested only in her, surveyed the line of her back and the profile of her face. Such co-ordinated perfection of line and color!
“Where every motion weaves and sings,” he might have commented. Instead he said: “That was in Brussels. The clouds were an afterthought, and that vase on the wall, too.”
“It’s very good, I think,” commented Mrs. Sohlberg, and moved away.
“How do you like this Israels?” he asked. It was the painting called “The Frugal Meal.”
“I like it,” she said, “and also your Bastien Le-Page,” referring to “The Forge.” “But I think your old masters are much more interesting. If you get many more you ought to put them together in a room. Don’t you think so? I don’t care for your Gerome very much.” She had a cute drawl which he considered infinitely alluring.
“Why not?” asked Cowperwood.
“Oh, it’s rather artificial; don’t you think so? I like the color, but the women’s bodies are too perfect, I should
