year, with some minor modifications. In the fall Eugene went to live with McHugh and Smite, the studio they had consisting of one big working room and three bed-rooms. They agreed that they could get along together, and for a while it was good for them all. The criticism they furnished each other was of real value. And they found it pleasant to dine together, to walk, to see the exhibitions. They stimulated each other with argument, each having a special point of view. It was much as it had been with Howe and Mathews in Chicago.
During this winter Eugene made his first appearance in one of the leading publications of the time—Harper's Magazine. He had gone to the Art Director with some proofs of his previous work, and had been told that it was admirable; if some suitable story turned up he would be considered. Later a letter came asking him to call, and a commission involving three pictures for $125 was given him. He worked them out successfully with models and was complimented on the result. His associates cheered him on also, for they really admired what he was doing. He set out definitely to make Scribner's and the Century, as getting into those publications was called, and after a time he succeeded in making an impression on their respective Art Directors, though no notable commissions were given him. From one he secured a poem, rather out of his mood to decorate, and from the other a short story; but somehow he could not feel that either was a real opportunity. He wanted an appropriate subject or to sell them some of his scenes.
Building up a paying reputation was slow work. Although he was being mentioned here and there among artists, his name was anything but a significant factor with the public or with the Art Directors. He was still a promising beginner—growing, but not yet arrived by a long distance.
There was one editor who was inclined to see him at his real worth, but had no money to offer. This was Richard Wheeler, editor of Craft, a rather hopeless magazine in a commercial sense, but devoted sincerely enough to art. Wheeler was a blond young man of poetic temperament, whose enthusiasm for Eugene's work made it easy for them to become friends.
It was through Wheeler that he met that winter Miriam Finch and Christina Channing, two women of radically different temperaments and professions, who opened for Eugene two entirely new worlds.
Miriam Finch was a sculptor by profession—a critic by temperament, with no great capacity for emotion in herself but an intense appreciation of its significance in others. To see her was to be immediately impressed with a vital force in womanhood. She was a woman who had never had a real youth or a real love affair, but clung to her ideal of both with a passionate, almost fatuous, faith that they could still be brought to pass. Wheeler had invited him to go round to her studio with him one evening. He was interested to know what Eugene would think of her. Miriam, already thirty-two when Eugene met her—a tiny, brown haired, brown eyed girl, with a slender, rather cat-like figure and a suavity of address and manner which was artistic to the finger tips. She had none of that budding beauty that is the glory of eighteen, but she was altogether artistic and delightful. Her hair encircled her head in a fluffy cloudy mass; her eyes moved quickly, with intense intelligence, feeling, humor, sympathy. Her lips were sweetly modelled after the pattern of a Cupid's bow and her smile was subtly ingratiating. Her sallow complexion matched her brown hair and the drab velvet or corduroy of her dress. There was a striking simplicity about the things she wore which gave her a distinctive air. Her clothes were seldom fashionable but always exceedingly becoming, for she saw herself as a whole and arrayed herself as a decorative composition from head to foot, with a sense of fitness in regard to self and life.
To such a nature as Eugene's, an intelligent, artistic, self-regulating and self-poised human being was always intensely magnetic and gratifying. He turned to the capable person as naturally as a flower turns toward the light, finding a joy in contemplating the completeness and sufficiency of such a being. To have ideas of your own seemed to him a marvellous thing. To be able definitely to formulate your thoughts and reach positive and satisfying conclusions was a great and beautiful thing. From such personalities Eugene drank admiringly until his thirst was satiated—then he would turn away. If his thirst for what they had to give returned, he might come back—not otherwise.
Hitherto all his relationships with personages of this quality had been confined to the male sex, for he had not known any women of distinction. Beginning with Temple Boyle, instructor in the life class in Chicago, and Vincent Beers, instructor in the illustration class, he had encountered successively Jerry Mathews, Mitchell Goldfarb, Peter McHugh, David Smite and Jotham Blue, all men of intense personal feeling and convictions and men who had impressed him greatly. Now he was to encounter for the first time some forceful, really exceptional women of the same calibre. Stella Appleton, Margaret Duff, Ruby Kenny and Angela Blue were charming girls in their way, but they did not think for themselves. They were not organized, self-directed, self-controlled personalities in the way that Miriam Finch was. She would have recognized herself at once as being infinitely superior intellectually and artistically to any or all of them, while entertaining at the same time a sympathetic, appreciative understanding of their beauty, fitness, equality of value in the social scheme. She was a student of life, a critic of emotions and understanding, with keen appreciative intelligence, and yet longing intensely for just what Stella and Margaret and Ruby and even Angela had—youth, beauty, interest for men, the power or magnetism or charm of face and form to compel the impetuous passion of a lover. She wanted to be loved by someone who could love madly and beautifully, and this had never come to her.
Miss Finch's home, or rather studio, was with her family in East Twenty-sixth Street, where she occupied a north room on the third floor, but her presence in the bosom of that family did not prevent her from attaining an individuality and an exclusiveness which was most illuminating to Eugene. Her room was done in silver, brown and grey, with a great wax-festooned candlestick fully five feet high standing in one corner and a magnificent carved chest of early Flemish workmanship standing in another. There was a brown combination writing desk and book-shelf which was arrayed with some of the most curious volumes—Pater's "Marius the Epicurean," Daudet's "Wives of Men of Genius," Richard Jefferies' "Story of My Heart," Stevenson's "Aes Triplex," "The Kasidah" of Richard Burton, "The House of Life" by Dante Gabriel Rossetti, "Also sprach Zarathustra" by Friedrich Nietzsche. The fact that they were here, after he had taken one look at the woman and the room, was to Eugene sufficient proof that they were important. He handled them curiously, reading odd paragraphs, nosing about, looking at pictures, and making rapid notes in his mental notebook. This was someone worth knowing, he felt that. He wanted to make a sufficiently favorable impression to be permitted to know her better.
Miriam Finch was at once taken with Eugene. There was such an air of vigor, inquiry, appreciation and understanding about him that she could not help being impressed. He seemed somewhat like a lighted lamp casting a soft, shaded, velvety glow. He went about her room, after his introduction, looking at her pictures, her bronzes and clays, asking after the creator of this, the painter of that, where a third thing came from.
"I never heard of one of these books," he said frankly, when he looked over the small, specially selected collection.
"There are some very interesting things here," she volunteered, coming to his side. His simple confession appealed to her. He was like a breath of fresh air. Richard Wheeler, who had brought him in, made no objection to being neglected. He wanted her to enjoy his find.
"You know," said Eugene, looking up from Burton's "Kasidah" and into her brown eyes, "New York gets me dizzy. It's so wonderful!"
"Just how?" she asked.
"It's so compact of wonderful things. I saw a shop the other day full of old jewelry and ornaments and quaint stones and clothes, and O Heaven! I don't know what all—more things than I had ever seen in my whole life before; and here in this quiet side street and this unpretentious house I find this room. Nothing seems to show on the outside; everything seems crowded to suffocation with luxury or art value on the inside."
"Are you talking about this room?" she ventured.
