Vignettes of Manhattan; Outlines in Local Color Part 2

"The man has a paintable face, too," the first rejoined. "I'd like to do him myself."

"Olyphant's well enough for composition," the second returned, "but when it comes to portraits, he simply isn't in it with Brashleigh. Seen his two yet?"

"Whose?" inquired the first speaker.

"Brashleigh's," was the answer. "Biggest things here. And as different as they make 'em. Best is a Wall Street man--Poole, I think, his name is."

"I know," the first interrupted. "Cyrus Poole; he's president of a big railroad somewhere out West. Lots of money. I wonder how Brashleigh got the job?"

"Guess he did Rupert de Ruyter for nothing. You know De Ruyter wrote him up in one of the magazines."

The two young art-students stood before the portrait a few seconds longer, looking at it intently. Then they moved off, the first speaker saying, "That head's out of drawing too."

It gave Miss Marlenspuyk something of a shock to learn that the heads of two of her friends were out of drawing; she wondered how serious the deformity might be; she felt for a moment almost as though she were acquainted with two of the startlingly abnormal specimens of humanity who are to be seen in dime museums. As these suggestions came to her one after the other, she smiled gently.

"I don't wonder that you are laughing at that picture, Miss Marlenspuyk," said a voice at her right. "It's no better than the regulation 'Sunset on the Lake of Chromo,' that you can buy on Liberty Street for five dollars, with a frame worth twice the money."

Miss Marlenspuyk turned, and recognized Mr. Robert White. She held out her hand cordially.

"Is your wife here?" she asked.

"Harry Brackett is explaining the pictures to her," White answered. "He doesn't know anything about art, but he is just as amusing as if he did."

"I like Mr. Brackett," the old maid rejoined. "He's a little--well, a little common, I fear; but then he is so quaint and so individual in his views. And at my time of life I like to be amused."

"I know your fondness for a new sensation," White returned. "I believe you wouldn't object to having the devil take you in to dinner."

"Why should I object?" responded Miss Marlenspuyk, bravely. "The devil is a gentleman, they say; and besides, I should be so glad to get the latest news of lots of my friends."

"Speaking of the gentleman who is not as black as he is painted," said White, "have you seen the portrait of Cyrus Poole yet? It is the best thing here. I didn't know Brashleigh had it in him to do anything so good."

"Where is it?" asked Miss Marlenspuyk. "I've been looking at this Mr.

Brashleigh's portrait of Mr. De Ruyter, and--"

"Pretty little thing, isn't it?" White interrupted. "Perhaps a trifle too sentimental and saccharine. But it hits off the poet to the life."

"And life is just what I don't find in so many of these portraits," the lady remarked. "Some of them look as though the artist had first made a wax model of his sitter and then painted that."

They moved slowly through the throng towards the other end of the gallery.

"Charley Vaughn, now, has another trick," said White, indicating a picture before them with a slight gesture. "Since he has been to Paris and studied under Carolus he translates all his sitters into French, and then puts the translation on canvas."

The picture White had drawn attention to represented a lady dressed for a ball, and standing before a mirror adjusting a feather in her hair. It was a portrait of Mrs. Delancey Jones, the wife of the architect.

Miss Marlenspuyk raised her gla.s.ses, and looked at it for a moment critically. Then she smiled. "It is the usual thing, now, I see," she said--"intimations of immorality."

White laughed, as they resumed their march around the hall.

"If you say that of Charley Vaughn's picture," he commented, "I wonder what you will say of Renwick Brashleigh's. Here it is."

And they came to a halt before the painting which had the place of honor in the centre of the wall on that side of the gallery.

"That is Cyrus Poole," White continued. "President of the Niobrara Central, one of the rising men of the Street, and now away in Europe on his honeymoon."

The picture bore the number 13, and the catalogue declared it to be a "Portrait of a Gentleman." It was a large canvas, and the figure was life size. It represented a man of barely forty years of age, seated at his desk in his private office. On the wall beyond him hung a map of the Niobrara Central Railroad with its branches. The light came from the window on the left, against which the desk was placed. The pose was that of a man who had been interrupted in his work, and who had swung around in his chair to talk to a visitor. He was a man to be picked out of a crowd as unlike other men, rather spare, rather below medium height, rather wiry than muscular. Beyond all question he was energetic, untiring, determined, and powerful. The way he sat indicated the consciousness of strength. So did his expression, although there was no trace of conceit to be detected on his features. His hair was dark and thick and straight, with scarce a touch of gray. He had a sharp nose and piercing eyes, while his lips were thin and his jaw ma.s.sive.

Miss Marlenspuyk looked at the picture with interest. "Yes," she said, "I don't wonder this has made a hit. There is something striking about it--something novel. It's a new note; that's what it is. And the man is interesting too. He has a masterful chin. Not a man to be henpecked, I take it. And he's a good provider, too, judging by the eyes and the mouth; I don't believe that his wife will ever have to turn her best black silk. There's something fascinating about the face, but I don't see how--"

She interrupted herself, and gazed at the picture again.

"Is it a good likeness?" she asked at last, with her eyes still fixed on the portrait.

"It's so like him that I wouldn't speak to it," White answered.

"I see what you mean," the old lady responded. "Yes, if the man really looks like that, n.o.body would want to speak to him. I wouldn't have this artist--what's his name?--Mr. Brashleigh?--I wouldn't have him paint my portrait for the world. Why, if he did, and my friends once saw it, there isn't one of them who would ever dare to ask me to dinner again."

White smiled, and quickly responded, "As I said before, you know, even the gentleman you wanted to take you in to dinner is probably not as black as he is painted."

"But I wouldn't want that man to take me in to dinner," returned Miss Marlenspuyk, promptly, indicating the portrait with a wave of her hand.

"Paint is all very well; besides, it is only on the outside, and women don't mind it; but it is that man's _heart_ that is black. It is his inner man that is so terrible. He fascinates me--yes--but he frightens me too. Who is he?"

"I told you," White answered. "He is Mr. Cyrus Poole, the president of the Niobrara Central Railroad, and one of the coming men in the Street.

He turned up in Denver ten years ago, and when he had learned all that Denver had to teach him he went to Chicago. He graduated from the Board of Trade there, and then came to New York; he has been here two years now, and already he has made himself felt. He has engineered two or three of the biggest things yet seen in the Street. As a result there are now two opinions about him."

"If this portrait is true," said the old maid, "I don't see how there can be more than one opinion about him."

"There were three at first," White rejoined. "At first they thought he was a lamb; now they know better. But they are still in doubt whether he is square or not. They say that the deal by which he captured the stock of the Niobrara Central and made himself president had this little peculiarity, that if it hadn't succeeded, instead of being in Europe on his honeymoon, Cyrus Poole would now be in Sing Sing. Why, if half they said about him at the time _is_ true--instead of hanging here on the line, he ought to have been hanged at the end of a rope. But then I don't believe half that I hear."

"I could believe anything of a man who looks like that," Miss Marlenspuyk said. "I don't think I ever saw a face so evil, for all it appears frank and almost friendly."

"But I have told you only one side," White went on. "Poole has partisans who deny all the charges against him. They say that his only crime is his success. They declare that he has got into trouble more than once trying to help friends out. While his enemies call him unscrupulous and vindictive, his friends say that he is loyal and lucky."

Miss Marlenspuyk said nothing for a minute or more. She was studying the portrait with an interest which showed no sign of flagging. Suddenly she looked up at White and asked, "Do you suppose he knows how this picture affects us?"

"Poole?" queried White. "No, I imagine not. He is a better judge of values as they are understood in Wall Street than as they are interpreted at the Art Students' League. Besides, I've heard that he was married and went to Europe before the picture was quite finished.

Brashleigh had to paint in the background afterwards."

"The poor girl!" said Miss Marlenspuyk. "Who was she?"

"What poor girl?" asked the man. "Oh, you mean the new Mrs. Cyrus Poole?"

"Yes," responded the old lady.

"She was a Miss Cameron," White answered; "Eunice Cameron, I think her name was. I believe that she is a cousin of Brashleigh's. By-the-way, I suppose that's how it happened he was asked to paint this portrait. He is one of the progressive painters a Wall Street man wouldn't be likely to appreciate off-hand. But it couldn't have been given to a better man, could it?"

Miss Marlenspuyk smiled.

"Well," said White, "Brashleigh has a marvellous insight into character; you can see that for yourself. Or at least he paints portraits as if he had; it's hard to tell about these artists, of course, and it's easy to credit them with more than they have. They see so much more than they understand; they have the gift, you know, but they can't explain; and half the time they don't know what it is they have done."