skirts and exposed her little feet. She explained what to do and how to do it. He tried it alone, but failed; so she got him to put his arm around her and placed her hand in his. "Now, follow me," she said.
It was so delightful to find her in his arms! And she was apparently in no hurry to conclude the lesson, for she worked with him quite patiently, explaining the steps, stopping and correcting him, laughing at her mistakes and his. "You're getting it, though," she said, after they had turned around a few times.
They had looked into each other's eyes a number of times and she gave him frank smiles in return for his. He thought of the time when she stood by him in the studio, looking over his shoulder. Surely, surely this gap of formalities might be bridged over at once if he tried if he had the courage. He pulled her a little closer and when they stopped he did not let go.
"You're mighty sweet to me," he said with an effort.
"No, I'm just good natured," she laughed, not endeavoring to break away.
He became emotionally tense, as always.
She rather liked what seemed the superiority of his mood. It was different, stronger than was customary in the men she knew.
"Do you like me?" he asked, looking at her.
She studied his face and hair and eyes.
"I don't know," she returned calmly.
"Are you sure you don't?"
There was another pause in which she looked almost mockingly at him and then, sobering, away at the hall door.
"Yes, I think I do," she said.
He picked her up in his arms. "You're as cute as a doll," he said and carried her to the red settee. She spent the rest of the rainy afternoon resting in his arms and enjoying his kisses. He was a new and peculiar kind of boy.
CHAPTER XI
A little while before, Angela Blue at Eugene's earnest solicitation had paid her first Fall visit to Chicago. She had made a special effort to come, lured by a certain poignancy of expression which he could give to any thought, particularly when it concerned his desires. In addition to the art of drawing he had the gift of writing—very slow in its development from a structural and interpretative point of view, but powerful already on its descriptive side. He could describe anything, people, houses, horses, dogs, landscapes, much as he could draw them and give a sense of tenderness and pathos in the bargain which was moving. He could describe city scenes and the personal atmosphere which surrounded him in the most alluring fashion. He had little time to write, but he took it in this instance to tell this girl what he was doing and how he was doing it. She was captivated by the quality of the world in which he was moving, and the distinction of his own personality, which he indicated rather indirectly than otherwise. By contrast her own little world began to look very shabby indeed.
She came shortly after his art school opened, and at her invitation he went out to the residence of her aunt on the North Side, a nice, pleasant brick house in a quiet side street, which had all the airs of middle class peace and comfort. He was impressed with what seemed to him a sweet, conservative atmosphere—a fitting domicile for a girl so dainty and refined as Angela. He paid his respects early Saturday morning because her neighborhood happened to be in the direction of his work.
She played for him—better than anyone he had ever known. It seemed to him a great accomplishment. Her temperament attracted her to music of a high emotional order and to songs and instrumental compositions of indefinable sweetness. In the half hour he stayed she played several things, and he noted with a new pleasure her small shapely body in a dress of a very simple, close fitting design; her hair hung in two great braids far below her waist. She reminded him the least bit of Marguerite in "Faust."
He went again in the evening, shining and eager, and arrayed in his best. He was full of the sense of his art prospects, and happy to see her again, for he was satisfied that he was going to fall in love with her. She had a strong, sympathetic attitude which allured him. She wanted to be nice to this youth—wanted him to like her—and so the atmosphere was right.
That evening he took her to the Chicago Opera House, where there was playing an extravaganza. This fantasy, so beautiful in its stage-craft, so gorgeous in its show of costumes and pretty girls, so idle in its humor and sweet in its love songs, captivated both Eugene and Angela. Neither had been to a theatre for a long time; both were en rapport with some such fantastic interpretation of existence. After the short acquaintance at Alexandria it was a nice coming together. It gave point to their reunion.
After the performance he guided her through the surging crowds to a North Division Street car—they had laid cables since his arrival—and together they went over the beauties and humor of the thing they had seen. He asked permission to call again next day, and at the end of an afternoon in her company, proposed that they go to hear a famous preacher who was speaking in Central Music Hall evenings.
Angela was pleased at Eugene's resourcefulness. She wanted to be with him; this was a good excuse. They went early and enjoyed it. Eugene liked the sermon as an expression of youth and beauty and power to command. He would have liked to be an orator like that, and he told Angela so. And he confided more and more of himself to her. She was impressed by his vivid interest in life, his selective power, and felt that he was destined to be a notable personality.
There were other meetings. She came again in early November and before Christmas and Eugene was fast becoming lost in the meshes of her hair. Although he met Ruby in November and took up a tentative relation on a less spiritual basis—as he would have said at the time—he nevertheless held this acquaintanceship with Angela in the background as a superior and more significant thing. She was purer than Ruby; there was in her certainly a deeper vein of feeling, as expressed in her thoughts and music. Moreover she represented a country home, something like his own, a nice simple country town, nice people. Why should he part with her, or ever let her know anything of this other world that he touched? He did not think he ought to. He was afraid that he would lose her, and he knew that she would make any man an ideal wife. She came again in December and he almost proposed to her—he must not be free with her or draw too near too rapidly. She made him feel the sacredness of love and marriage. And he did propose in January.
The artist is a blend of subtleties in emotion which can not be classified. No one woman could have satisfied all sides of Eugene's character at that time. Beauty was the point with him. Any girl who was young, emotional or sympathetic to the right degree and beautiful would have attracted and held him for a while. He loved beauty—not a plan of life. He was interested in an artistic career, not in the founding of a family. Girlhood—the beauty of youth—was artistic, hence he craved it.
Angela's mental and emotional composition was stable. She had learned to believe from childhood that marriage was a fixed thing. She believed in one life and one love. When you found that, every other relationship which did not minister to it was ended. If children came, very good; if not, very good; marriage was permanent anyhow. And if you did not marry happily it was nevertheless your duty to endure and suffer for whatever good might remain. You might suffer badly in such a union, but it was dangerous and disgraceful to break it. If you could not stand it any more, your life was a failure.
Of course, Eugene did not know what he was trifling with. He had no conception of the nature of the relationship he was building up. He went on blindly dreaming of this girl as an ideal, and anticipating eventual marriage with her. When that
