Mr. Potter did call—not once, but many times—and showed quite a remarkable interest in Miss Forrest’s art. The question of the sale of the picture, however, remained in abeyance. A few weeks later, after a longer call than usual, Mr. Potter said:—
“Don’t you think the best thing we can do is to make a kind of compromise, and let us own the picture together?”
And they did.
A ROMANCE OF THE LINE
As the train moved slowly out of the station, the Writer of Stories looked up wearily from the illustrated pages of the magazines and weeklies on his lap to the illustrated advertisements on the walls of the station sliding past his carriage windows. It was getting to be monotonous. For a while he had been hopefully interested in the bustle of the departing trains, and looked up from his comfortable and early invested position to the later comers with that sense of superiority common to travelers; had watched the conventional leave-takings—always feebly prolonged to the uneasiness of both parties—and contrasted it with the impassive business promptitude of the railway officials; but it was the old experience repeated. Falling back on the illustrated advertisements again, he wondered if their perpetual recurrence at every station would not at last bring to the tired traveler the loathing of satiety; whether the passenger in railway carriages, continually offered Somebody’s oats, inks, washing blue, candles, and soap, apparently as a necessary equipment for a few hours’ journey, would not there and thereafter forever ignore the use of these articles, or recoil from that particular quality. Or, as an unbiased observer, he wondered if, on the other hand, impressible passengers, after passing three or four stations, had ever leaped from the train and refused to proceed further until they were supplied with one or more of those articles. Had he ever known any one who confided to him in a moment of expansiveness that he had dated his use of Somebody’s soap to an advertisement persistently borne upon him through the medium of a railway carriage window? No! Would he not have connected that man with that other certifying individual who always appends a name and address singularly obscure and unconvincing, yet who, at some supreme moment, recommends Somebody’s pills to a dying friend,—afflicted with a similar address,—which restore him to life and undying obscurity. Yet these pictorial and literary appeals must have a potency independent of the wares they advertise, or they wouldn’t be there.
Perhaps he was the more sensitive to this monotony as he was just then seeking change and novelty in order to write a new story. He was not looking for material,—his subjects were usually the same,—he was merely hoping for that relaxation and diversion which should freshen and fit him for later concentration. Still, he had often heard of the odd circumstances to which his