course, people who are paid by fees for doing something—" She smiled away the social pretensions of all such people.
"Are any of your great artists or authors here?"
"No authors. They are mostly such queer people—and so preoccupied about themselves. And they quarrel so dreadfully! They will fight, some of them, for precedence on staircases! Dreadful isn't it? But I think Wraysbury, the fashionable capillotomist, is here. From Capri."
"Capillotomist," said Graham. "Ah! I remember. An artist! Why not?"
"We have to cultivate him," she said apologetically. "Our heads are in his hands." She smiled.
Graham hesitated at the invited compliment, but his glance was expressive. "Have the arts grown with the rest of civilised things?" he said. "Who are your great painters?"
She looked at him doubtfully. Then laughed. "For a moment," she said, "I thought you meant—" She laughed again. "You mean, of course, those good men you used to think so much of because they could cover great spaces of canvas with oil-colours? Great oblongs. And people used to put the things in gilt frames and hang them up in rows in their square rooms. We haven't any. People grew tired of that sort of thing."
"But what did you think I meant?"
She put a finger significantly on a cheek whose glow was above suspicion, and smiled and looked very arch and pretty and inviting. "And here," and she indicated her eyelid.
Graham had an adventurous moment. Then a grotesque memory of a picture he had somewhere seen of Uncle Toby and the Widow flashed across his mind. An archaic shame came upon him. He became acutely aware that he was visible to a great number of interested people. "I see," he remarked inadequately. He
