the succeeding days in the art school after his first admission revealed many new things to eugene. he understood now, or thought he did, why artists were different from the rank and file of mankind. this art institute atmosphere was something so refreshing after his days rambling among poor neighborhoods collecting, that he could hardly believe that he, eugene witla, belonged there. these were exceptional young people; some of them, anyhow. if they weren't cut out to be good artists they still had imagination—the dream of the artist. they came, as eugene gradually learned, from all parts of the west and south, from chicago and st. louis—from kansas, nebraska and iowa—from texas and california and minnesota. one boy was in from saskatchewan of the canadian north west, another from the then territory of new mexico. because his name was gill they called him the gila monster—the difference in the pronunciation of the "g's" not troubling them at all. a boy who came down from minnesota was a farmer's son, and talked about going back to plow and sow and reap during the next spring and summer. another boy was the son of a kansas city millionaire.

the mechanics of drawing interested eugene from the first. he learned the first night that there was some defect in his understanding of light and shade as it related to the human form. he could not get any roundness or texture in his drawings.

"the darkest shadow is always closest to the high light," observed his instructor laconically on wednesday evening, looking over his shoulder. "you're making everything a dull, even tone." so that was it.

"you're drawing this figure as a bricklayer who isn't an architect might start to build a house. you're laying bricks without having a plan. where's your plan?" the voice was that of mr. boyle looking over his shoulder.

eugene looked up. he had begun to draw the head only.

"a plan! a plan!" said his instructor, making a peculiar motion with his hands which described the outline of the pose in a single motion. "get your general lines first. then you can put in the details afterward."

eugene saw at once.

another time his instructor was watching him draw the female breast. he was doing it woodenly—without much beauty of contour.

"they're round! they're round! i tell you!" exclaimed boyle. "if you ever see any square ones let me know."

this caught eugene's sense of humor. it made him laugh, even though he flushed painfully, for he knew he had a lot to learn.

the cruelest thing he heard this man say was to a boy who was rather thick and fat but conscientious. "you can't draw," he said roughly. "take my advice and go home. you'll make more money driving a wagon."

the class winced, but this man was ugly in his intolerance of futility. the idea of anybody wasting his time was obnoxious to him. he took art as a business man takes business, and he had no time for the misfit, the fool, or the failure. he wanted his class to know that art meant effort.

aside from this brutal insistence on the significance of art, there was another side to the life which was not so hard and in a way more alluring. between the twenty-five minute poses which the model took, there were some four or five minute rests during the course of the evening in which the students talked, relighted their pipes and did much as they pleased. sometimes students from other classes came in for a few moments.

the thing that astonished eugene though, was the freedom of the model with the students and the freedom of the students with her. after the first few weeks he observed some of those who had been there the year before going up to the platform where the girl sat, and talking with her. she had a little pink gauze veil which she drew around her shoulders or waist that instead of reducing the suggestiveness of her attitudes heightened them.

"say, ain't that enough to make everything go black in front of your eyes," said one boy sitting next to eugene.

"well, i guess," he laughed. "there's some edge to that."

the boys would sit and laugh and jest with this girl, and she would laugh and coquette in return. he saw her strolling about looking at some of the students' drawings of her over their shoulders, standing face to face with others—and so calmly. the strong desire which it invariably aroused in eugene he quelled and concealed, for these things were not to be shown on the surface. once, while he was looking at some photographs that a student had brought, she came and looked over his shoulder, this little flower of the streets, her body graced by the thin scarf, her lips and cheeks red with color. she came so close that she leaned against his shoulder and arm with her soft flesh. it pulled him tense, like a great current; but he made no sign, pretending that it was the veriest commonplace. several times, because the piano was there, and because students would sing and play in the interludes, she came and sat on the piano stool herself, strumming out an accompaniment to which some one or three or four would sing. somehow this, of all things, seemed most sensuous to him—most oriental. it set him wild. he felt his teeth click without volition on his part. when she resumed her pose, his passion subsided, for then the cold, æsthetic value of her beauty became uppermost. it was only the incidental things that upset him.

in spite of these disturbances, eugene was gradually showing improvement as a draughtsman and an artist. he liked to draw the figure. he was not as quick at that as he was at the more varied outlines of landscapes and buildings, but he could give lovely sensuous touches to the human form—particularly to the female form—which were beginning to be impressive. he'd got past the place where boyle had ever to say "they're round." he gave a sweep to his lines that attracted the instructor's attention.

"you're getting the thing as a whole, i see," he said quietly, one day. eugene thrilled with satisfaction. another wednesday he said:—"a little colder, my boy, a little colder. there's sex in that. it isn't in the figure. you ought to make a good mural decorator some day, if you have the inclination," boyle went on; "you've got the sense of beauty." the roots of eugene's hair tingled. so art was coming to him. this man saw his capacity. he really had art in him.

one evening a paper sign pasted up on the bulletin board bore the significant legend: "artists! attention! we eat! we eat! nov. 16th. at sofroni's. all those who want to get in give their names to the monitor."

eugene had heard nothing of this, but he judged that it originated in one of the other classes. he spoke to the monitor and learned that only seventy-five cents was required of him. students could bring girls if they wished. most of them would. he decided that he would go. but where to get a girl? sofroni's was an italian restaurant in lower clark street, which had originally started out as an eating place for italian laborers, because it was near an italian boarding house section. it was located in an old house that was not exactly homely. a yard in the back had been set with plain wooden tables, and benches had been placed for use in the summer time and, later, this had been covered with a mouldy tent-cloth to protect the diners from rain. still later this became glass and was used in winter. the place was clean and the food good. some struggling craftsman in journalism and art had found it and by degrees signor sofroni had come to realize that he was dealing with a better element. he began to exchange greetings with these people to set aside a little corner for them. finally he entertained a small group of them at dinner—charging them hardly more than cost price—and so he was launched. one student told another. sofroni now had his yard covered in so that he could entertain a hundred at dinner, even in winter. he could serve several kinds of wines and liquors with a dinner for seventy-five cents a piece. so he was popular.

the dinner was the culmination of several other class treats. it was the custom of a class, whenever a stranger, or even a new member appeared, to yell "treat! treat!" at which the victim or new member was supposed to produce two dollars as a contribution to a beer fund. if the money was not produced—the stranger was apt to be thrown out or some ridiculous trick played upon him—if it was forthcoming, work for the evening ceased. a collection was immediately taken up. kegs of beer were sent for, with sandwiches and cheese. drinking, singing, piano playing, jesting followed. once, to eugene's utter astonishment, one of the students—a big, good natured, carousing boy from omaha—lifted the nude model to his shoulders, set her astride his neck and proceeded around the room, jigging as he went—the girl meantime pulling his black hair, the other students following and shouting uproariously. some of the girls in an adjoining room, studying in an evening life class, stopped their work to peep through a half dozen small holes which had been punched in the intervening partition. the sight of showalter carrying the girl so astonished the eavesdroppers that the news of it was soon all over the building. knowledge of the escapade reached the secretary and the next day the student was dropped. but the bacchic dance had been enacted—its impression was left.

there were other treats like this in which eugene was urged to drink, and he did—a very little. he had no taste for beer. he also tried to smoke, but he did not care for it. he could become nervously intoxicated at times, by the mere sight of such revelry, and then he grew witty, easy in his motions, quick to say bright things. on one of these occasions one of the models said to him: "why, you're nicer than i thought. i imagined you were very solemn."

"oh, no," he said, "only at times. you don't know me."

he seized her about the waist, but she pushed him away. he wished now that he danced, for he saw that he might have whirled her about the room then and there. he decided to learn at once.

the question of a girl for the dinner, troubled him. he knew of no one except margaret, and he did not know that she danced. there was miss blue, of blackwood—whom he had seen when she made her promised visit to the city—but the thought of her in connection with anything like this was to him incongruous. he wondered what she would think if she saw such scenes as he had witnessed.

it chanced that one day when he was in the members' room, he met miss kenny, the girl whom he had seen posing the night he had entered the school. eugene remembered her fascination, for she was the first nude model he had ever seen and she was pretty. she was also the one who had come and stood by him when she was posing. he had not seen her since then. she had liked eugene, but he had seemed a little distant and, at first, a little commonplace. lately he had taken to a loose, flowing tie and a soft round hat which became him. he turned his hair back loosely and emulated the independent swing of mr. temple boyle. that man was a sort of god to him—strong and successful. to be like that!

the girl noted a change for what she deemed the better. he was so nice now, she thought, so white-skinned and clear-eyed and keen.

she pretended to be looking at the drawing of a nude when she saw him.

"how are you?" he asked, smiling, venturing to speak to her because he was lonely and because he knew no other girl.

she turned gaily, and returned the question, facing him with smiling lips and genial eyes.

"i haven't seen you for some time," he said. "are you back here now?"

"for this week," she said. "i'm doing studio work. i don't care for classes when i can get the other."

"i thought you liked them!" he replied, recalling her gaiety of mood.

"oh, i don't dislike it. only, studio work is better."

"we've missed you," he said. "the others haven't been nearly as nice."

"aren't you complimentary," she laughed, her black eyes looking into his with a twinkle.

"no, it's so," he returned, and then asked hopefully, "are you going to the dinner on the 16th?"

"maybe," she said. "i haven't made up my mind. it all depends."

"on what?"

"on how i feel and who asks me."

"i shouldn't think there'd be any trouble about that," he observed. "if i had a girl i'd go," he went on, making a terrific effort to reach the point where he could ask her. she saw his intention.

"well?" she laughed.

"would you go with me?" he ventured, thus so shamelessly assisted.

"sure!" she said, for she liked him.

"that's fine!" he exclaimed. "where do you live? i'll want to know that." he searched for a pencil.

she gave him her number on west fifty-seventh street.

because of his collecting he knew the neighborhood. it was a street of shabby frame houses far out on the south side. he remembered great mazes of trade near it, and unpaved streets and open stretches of wet prairie land. somehow it seemed fitting to him that this little flower of the muck and coal yard area should be a model.

"i'll be sure and get you," he laughed. "you won't forget, will you, miss—"

"just ruby," she interrupted. "ruby kenny."

"it's a pretty name, isn't it?" he said. "it's euphonious. you wouldn't let me come out some sunday and see just where it is?"

"yes, you may," she replied, pleased by his comment on her name. "i'm home most every sunday. come out next sunday afternoon, if you want to."

"i will," said eugene.

he walked out to the street with her in a very buoyant mood.