Jack, however, did not go for three or four days, giving them plenty of time, as he told himself, to get used to each other's excesses or lacks of grief. And as he waited for Imogen in the long drawing-room that had been the setting of so many of their communings, he wondered what adjustment the mother and daughter had come to.

The aspect of the drawing-room was unchanged; changelessness had always been for him its characteristic mark; in essentials, he felt sure, it had not changed since the days of old Mrs. Upton, the present Mrs. Upton's long deceased mother-in-law. Only a touch here and there showed the passage of time. It was continuous with the dining-room, so that it was but one long room that crossed all the depth of the house, tall windows at the back, heavily draped, echoing dimly the windows of the front that looked out upon the snowy, glittering street. The inner half could be shut away by folding-doors, and its highly polished sideboard, chairs, table, a silver Épergne towering upon it, glimmered in a dusky element that relegated it, when not illuminated for use, to a mere ghostly decorativeness. By contrast, the drawing-room was vivid. Its fringed and buttoned furniture,—crimson brocade set in a dark carved wood, the dangling lusters of the huge chandelier, the elaborate SÈvres vases on the mantelpiece, flanking a bronze clock portentously gloomy, expressed old Mrs. Upton's richly solid ideals; but these permanent uglinesses distressed Jack less than the pompous and complacent taste of the later additions. A pretentious cabinet of late Italian Renaissance work stood in a corner; the dark marble mantelpiece, that looked like a sarcophagus, was incongruously draped with an embroidered Italian cope, and a pseudo-Correggio Madonna, encompassed with a wilderness of gilt frame, smiled a pseudo-smile from the embossed paper of the walls. It was one of Jack's little trials to hear Imogen refer to this trophy with placid conviction.

Yet, for all its solemn stupidity, the room was not altogether unpleasing; it signified something, were it only an indifference to fashion, It was, funnily, almost Spartan, for all the carving, the cushioning, the crimson, so little concession did it make to other people's standards or to small, happy minor uses. Mr. Upton and his daughter had not changed it because they had other things to think of; and they thought of these things not in the drawing-room but in the large library up-stairs. There one could find the personal touches, that, but for the cope, the cabinet, the Correggio, were lacking below. There the many photographs from the Italian primitives, the many gracious Donatello and Delia Robbia bas-reliefs, expressed something of Imogen, too, though Jack always felt that Imogen's esthetic; side expressed what was not very essential in her.

While he waited now, he had paused at last before two portraits. He had often so paused while waiting for Imogen. To-night it was with a new curiosity.

They hung opposite the Correggio and on either side of the great mirror that rose from the mantelpiece to the cornice. One was of a young man dressed in the fashion of twenty-five years before, dressed with a rather self-conscious negligence. He was pale, earnest, handsome, though his nose was too small and his eyes too large. A touch of the histrionic was in his attitude, in his dark hair, tossed carelessly, in the unnecessarily weighty and steady look of his dark eyes, even in the slight smile of his firm, full lips, a smile too well-adapted, as it were, to the needs of any interlocutor. Beneath his arm was a book; a long, distinguished hand hanging slackly. Jack turned away with a familiar impatience. In twenty-five years Mr. Upton had changed very little. It was much the same face that he had known; in especial, the slack, self-conscious hand, the smile—always so much more for himself than for you—were familiar. The hand, the necktie, the smile, so deep, so dark, so empty, were all, Jack was inclined to suspect, that there had ever been of Mr. Upton.

The other portrait, painted with the sleek convention of that earlier epoch, was of a woman in a ball-dress. The portrait was by a French master and under his brush the sitter had taken on the look of a Feuillet heroine. She was gay, languid, sentimental, and extraordinarily pretty. Her hair was dressed in a bygone fashion, drawn smoothly up from the little ears, coiled high and falling across her forehead in a light, straight fringe. Her wonderful white shoulders rose from a wonderfully low white bodice; a bracelet of emeralds was on her arm, a spray of jasmine in her fingers; she was evidently a girl, yet in her apparel was a delicate splendor, in her gaze a candid assurance, that marked her as an American girl. And she expressed charmingly, with sincerity as it were, a frivolous convention. This was Miss Cray, a year or so before her marriage with Mr. Upton. The portrait had been painted in Paris, where, orphaned, lovely, but not largely dowered, she had, under the wing of an aunt domiciled in France for many years and bearing one of its oldest names, failed to make the brilliant match that had been hoped for her. This touch of France in girlhood echoed an earlier impress. Imogen had told him that her mother had been educated for some years in a French convent, deposited there by pleasure-loving parents during European wanderings, and Imogen had intimated that her mother's frequent returns to her native land had never quite effaced alien and regrettable points of view. Before this portrait, Jack was accustomed, not to impatience, but to a gaze of rather ironic comprehension. It had always explained to him so much. But to-night he found himself looking at it with an intentness in which was a touched curiosity; in which, also, and once more he was vexed with himself for feeling it, was an anxiety, almost a fear. Of course it hadn't been like, even then, he was surer than ever of that to-night, with his memory of the pale face smiling down at him and at Imogen from the deck of the great steamer. The painter had seen the mask only; even then there had been more to see. And sure, as he had never been before, of all that there must have been besides to see, he wondered with a new wonder how she had come to marry Mr. Upton.

He glanced back at him. Handsome? Yes. Distinguished? Yes; there was no trace of the shoddy in his spiritual histrionics. He had been fired by love, no doubt, far beyond his own chill complacency. Such a butterfly girl, falling with, perhaps, bruised wings from the high, hard glare of worldly ambitions, more of others for her than her own for herself—of that he felt, also quite newly sure to-night—such a girl had thought Mr. Upton, no doubt, a very noble creature and herself happy and fortunate. And she had been very young.

He was still looking up at Miss Cray when Imogen came in. He felt sure, from his first glance at her, that nothing had happened, during the interval of his abstention, to deepen her distress. In her falling and folding black she was serene and the look of untroubled force he knew so well was in her eyes. She had taken the measure of the grown-up butterfly and found it easy of management. He felt with relief that the mother could have threatened none of the things they held dear. And, indeed, in his imagination, her spirit seemed to flutter over them in the solid, solemn room, reassuring through its very lightness and purposelessness.

"I am so glad to see you," Imogen said, after she had shaken his hand and they had seated themselves on the sofa that stretched along the wall under the Correggio. "I have been sorry about the other day."

"Oh!" he answered vaguely, not quite sure for what the regret was.

"I ought to have mastered myself; been more able to play the trivial part, as you did; that was such real kindness in you, Jack, dear. I couldn't have pretended gaiety, but I didn't intend to cast a gloom. It only became that, I suppose, when I was—so hurt."

He understood now. "By there not being gloom enough?"

"If you like to put it so. To see her smile like that!"

Jack was sorry for her, yet, at the same time, sorry for the butterfly.

"Yes, I know how you must have felt. But, it was natural, you know. One smiles involuntarily at a meeting, however sad its background. I believe that you would have smiled if she hadn't."

Imogen's clear eyes were upon him while he thus shared with her his sense of mitigations and she answered without a pause: "Yes, I could have smiled at her. That would have been different."

"You mean—that you had a right to smile?"

"I can't see how she could," said Imogen in a low voice, not answering his question; thinking, probably, that it answered itself. And she went on: "I was ready, you know, to help her to bear it all, with my whole strength; but, and it is that that still hurts me so, she doesn't seem to know that she needs help. She doesn't seem to be bearing anything."

Jack was silent, feeling here that they skirted too closely ground upon which, with Imogen, he never ventured. He had brought from his study of the portraits a keener sense of how much Mrs. Upton had to bear no longer.

"But," Imogen continued, oddly echoing his own sense of deeper insights, "I already understand her so much better than I've ever done. I've never come so near. Never seen so clearly how little there is to see. She's still essentially that, you know," and she pointed to the French portrait that, with softly, prettily mournful eyes, gazed out at them.

"The butterfly thing," Jack suggested rather than acquiesced.

"The butterfly thing," she accepted.

But Jack went on: "Not only that, though. There is, I'm very sure, more to see. She is so—so sensible."

"Sensible?" again Imogen accepted. "Well, isn't that portrait sensible? Doesn't that lovely, luxurious girl see and want all the happy, the easy things of life? It is sensible, of course, clearly to know what they are, and firmly to make for them. That's just what I recognize now in her, that all she wants is to make things easy, to glisser."

"Yes, I can believe that," he murmured, a little dazed by her clear decisiveness; he often felt Imogen to be so much more clear-sighted, so much more clever than himself when it came to judgments and insights, that he could only at the moment acquiesce, through helplessness. "I suppose that is the essential—the desire of ease."

"And it hurts you that I should be able to see it, to say it, of my mother." Her eyes, with no hardness, no reproach, probed him, too. She almost made him feel unworthy of the trust she showed him.

"No," he said, smiling at her, "because I know that it's only to a friend who so understands you, who so cares for all that comes into your life."

"Only to such a friend, indeed," she returned gently.

"Have they been hard, these days?" he asked her, atoning to himself for the momentary shrinking that she had detected.

"Yes, they have," she answered, "and the more so from my seeing all her efforts to keep them soft; as if it was ease I wanted! But I have faced it all."

"What else has there been to face?"

She said nothing for some moments, looking at him with a thoughtful openness that, he felt, was almost marital in its sharing of silence.

"She's against everything, everything," she said at last.

"You mean in the way we feared?—that she'll try to change things?"

"She'll not seem to try. She'll seem to accept. But she's against my country; against my life; against me."

"Well, if she accepts, or seems to, that will make it easy for you. There will be nothing to fight, to oppose."

"Don't use her word, Jack. She will make it easy on the surface; but it's that that will be so hard for me to bear; the surface ease over the hidden discord."

"You may resolve the discord. Give her time to grow her roots. How can you expect anything but effort now, in this soil that she can't but associate with mistakes and sorrows?"

"The mistakes and sorrows were in her, not in the soil," said Imogen; "but don't think that though I find it hard, I don't face it; don't think that through it all I haven't my faith. That is just what I am going to do: give her time, and help her to grow with all the strength and love there is in me."

Something naughty, something rebellious and dissatisfied in him was vaguely stirring and muttering; he feared that she might see into him again and give it a name, although he could only have given it the old name of a humorous impatience with her assured rightness. Really, she was so over-right that she almost irked and irritated him, dear and beloved as she was. One could only call it over-rightness, for wasn't what she said the simple truth, just as he had always seen it, just as she had always known that, with her, he saw it? She had this queer, light burden suddenly on her hands, so much more of a burden for being so light, and if her own weight and wisdom became a little too emphatic in dealing with it, how could he reproach her? He didn't reproach her, of course; but he was afraid lest she should see that he found her, well, a little funny.

"What does she do with herself?" he asked, turning hastily from his consciousness of amusement.

Imogen's pearly face, bent on him with such confidence, made him, once more, ashamed of himself.

"She has seen a good many of her friends. We have had quite a stream of fashionable, furbelowed dames trooping up the steps; very few of them people that papa and I cared to keep in touch with; you know his dislike for the merely pleasure-seeking side of life. And she has seen the dear Delancy Pottses, too, and was very nice to them, one of the cases of seeming to accept; I saw well enough that they were no more to her than quaint insects she must do her duty by. And she has been very busy with business, closeted every day with Mr. Haliwell. And she takes a walk with me when I can spare the time, and for the rest of the day she sits in her room dressed in a wonderful tea-gown and reads French memoirs, just as she used always to do."

Jack was smiling, amused, now, in no way that needed hiding, by her smooth flow of description. "You must take her down to the girls' club some day," he suggested, "and to see your cripples and all the rest of it. Get her interested, you know; give her something else to think of besides French memoirs."

"Indeed, I'm going to try to. Though among my girls I'm not sure that she would be a very wise experiment. Such an ondulÉe, parfumÉe, polished person with such fashionable mourning would be, perhaps, a little resented."

"You dress very charmingly, yourself, my dear Imogen."

"Oh, but quite differently. Mamma's is fashion at its very flower of subtle discretion. My clothes, why, they are of any time you will." She swept aside her wing-like sleeves to show the Madonna-like lines of her dress. "A factory girl could wear just the same shape if she wanted to."

"And she doesn't want to, foolish girl? She wants to wear your mother's kind instead?"

"She would dimly recognize it as the unattainable perfection of what she wants. It would pierce."

"Make for envy, you think?"

"Well, I can't see that she would do them any good," said Imogen, now altogether in her lighter, happier mood, "but since they may do her good I must, I think, take her there some day."

"And am I to do her some good? Am I to see her to-night?" Jack asked, feeling that though her humor a little jarred on him he could do nothing better than echo it. Imogen, now, had one of her frankest, prettiest looks.

"Do you know, she is almost too discreet, poor dear," she said. "She wants me to see that she perfectly understands and sympathizes with the American freedom as to friendships between men and women, so that she vacates the drawing-room for my people just as a farmer's wife would do for her daughter's young men. She hasn't asked me even a question about you, Jack!"

Her gaiety so lifted and warmed him that he was prompted to say that Mrs. Upton would have to, very soon, if the answer to a certain question that he wanted to ask Imogen were what he hoped for. But the jocund atmosphere of their talk seemed unfit for such a grave allusion and he repressed the sally.