Christina Channing was a rival of Angela's in one sense, that of bodily beauty. She had a tall perfectly rounded form, a lovely oval face, a nut brown complexion with the rosy glow of health showing in cheeks and lips, and a mass of blue black hair. Her great brown eyes were lustrous and sympathetic.
Eugene met her through the good offices of Shotmeyer, who had been given by some common friend in Boston a letter of introduction to her. He had spoken of Eugene as being a very brilliant young artist and his friend, and remarked that he would like to bring him up some evening to hear her sing. Miss Channing acquiesced, for she had seen some of his drawings and was struck by the poetic note in them. Shotmeyer, vain of his notable acquaintances—who in fact tolerated him for his amusing gossip—described Miss Channing's voice to Eugene and asked him if he did not want to call on her some evening. "Delighted," said Eugene.
The appointment was made and together they went to Miss Channing's suite in a superior Nineteenth Street boarding house. Miss Channing received them, arrayed in a smooth, close fitting dress of black velvet, touched with red. Eugene was reminded of the first costume in which he had seen Ruby. He was dazzled. As for her, as she told him afterward, she was conscious of a peculiar illogical perturbation.
"When I put on my ribbon that night," she told him, "I was going to put on a dark blue silk one I had just bought and then I thought 'No, he'll like me better in a red one.' Isn't that curious? I just felt as though you were going to like me—as though we might know each other better. That young man—what's his name—described you so accurately." It was months afterward when she confessed that.
When Eugene entered it was with the grand air he had acquired since his life had begun to broaden in the East. He took his relationship with talent, particularly female talent, seriously. He stood up very straight, walked with a noticeable stride, drove an examining glance into the very soul of the person he was looking at. He was quick to get impressions, especially of talent. He could feel ability in another. When he looked at Miss Channing he felt it like a strong wave—the vibrating wave of an intense consciousness.
She greeted him, extending a soft white hand. They spoke of how they had heard of each other. Eugene somehow made her feel his enthusiasm for her art. "Music is the finer thing," he said, when she spoke of his own gift.
Christina's dark brown eyes swept him from head to foot. He was like his pictures, she thought—and as good to look at.
He was introduced to her mother. They sat down, talking, and presently Miss Channing sang—"Che faro senza Euridice." Eugene felt as if she were singing to him. Her cheeks were flushed and her lips red.
Her mother remarked after she had finished, "You're in splendid voice this evening, Christina."
"I feel particularly fit," she replied.
"A wonderful voice—it's like a big red poppy or a great yellow orchid!" cried Eugene.
Christina thrilled. The description caught her fancy. It seemed true. She felt something of that in the sounds to which she gave utterance.
"Please sing 'Who is Sylvia,'" he begged a little later. She complied gladly.
"That was written for you," he said softly as she ceased, for he had come close to the piano. "You image Sylvia for me." Her cheeks colored warmly.
"Thanks," she nodded, and her eyes spoke too. She welcomed his daring and she was glad to let him know it.
CHAPTER XXII
The chief trouble with his present situation, and with the entrance of these two women into his life, and it had begun to be a serious one to him, was that he was not making money. He had been able to earn about $1200 the first year; the second he made a little over two thousand, and this third year he was possibly doing a little better. But in view of what he saw around him and what he now knew of life, it was nothing. New York presented a spectacle of material display such as he had never known existed. The carriages on Fifth Avenue, the dinners at the great hotels, the constant talk of society functions in the newspapers, made his brain dizzy. He was inclined to idle about the streets, to watch the handsomely dressed crowds, to consider the evidences of show and refinement everywhere, and he came to the conclusion that he was not living at all, but existing. Art as he had first dreamed of it, art had seemed not only a road to distinction but also to affluence. Now, as he studied those about him, he found that it was not so. Artists were never tremendously rich, he learned. He remembered reading in Balzac's story "Cousin Betty," of a certain artist of great distinction who had been allowed condescendingly by one of the rich families of Paris to marry a daughter, but it was considered a great come down for her. He had hardly been able to credit the idea at the time, so exalted was his notion of the artist. But now he was beginning to see that it represented the world's treatment of artists. There were in America a few who were very popular—meretriciously so he thought in certain cases—who were said to be earning from ten to fifteen thousand a year. How high would that place them, he asked himself, in that world of real luxury which was made up of the so-called four hundred—the people of immense wealth and social position. He had read in the papers that it took from fifteen to twenty-five thousand dollars a year to clothe a débutante. It was nothing uncommon, he heard, for a man to spend from fifteen to twenty dollars on his dinner at the restaurant. The prices he heard that tailors demanded—that dressmakers commanded, the display of jewels and expensive garments at the opera, made the poor little income of an artist look like nothing at all. Miss Finch was constantly telling him of the show and swagger she met with in her circle of acquaintances, for her tact and adaptability had gained her the friendship of a number of society people. Miss Channing, when he came to know her better, made constant references to things she came in contact with—great singers or violinists paid $1000 a night, or the tremendous salaries commanded by the successful opera stars. He began, as he looked at his own meagre little income, to feel shabby again, and run down, much as he had during those first days in Chicago. Why, art, outside the fame, was nothing. It did not make for real living. It made for a kind of mental blooming, which everybody recognized, but you could be a poor, sick, hungry, shabby genius—you actually could. Look at Verlaine, who had recently died in Paris.
A part of this feeling was due to the opening of a golden age of luxury in New York, and the effect the reiterated sight of it was having on Eugene. Huge fortunes had been amassed in the preceding fifty years and now there were thousands of residents in the great new city who were worth anything from one to fifty and in some instances a hundred million dollars. The metropolitan area, particularly Manhattan Island above Fifty-ninth Street, was growing like a weed. Great hotels were being erected in various parts of the so-called "white light" district. There was beginning, just then, the first organized attempt of capital to supply a new need—the modern sumptuous, eight, ten and twelve story apartment house, which was to house the world of newly rich middle class folk who were pouring into New York from every direction. Money was being made in the West, the South and the North, and as soon as those who were making it had sufficient to permit them to live in luxury for the rest of their days they were moving East, occupying these expensive apartments, crowding the great hotels, patronizing the sumptuous restaurants, giving the