It was in this mood that she opened the article on Keniston. She knew about him, of course; she was wonderfully “well up,” even for East Onondaigua. She had read of him in the magazines; she had met, on a visit to New York, a man who collected Kenistons, and a photogravure of a Keniston in an “artistic” frame hung above her writing-table at home. But Professor Wildmarsh’s article made her feel how little she really knew of the master; and she trembled to think of the state of relative ignorance in which, but for the timely purchase of the magazine, she might have entered Hillbridge. She had, for instance, been densely unaware that Keniston had already had three “manners,” and was showing symptoms of a fourth. She was equally ignorant of the fact that he had founded a school and “created a formula”; and she learned with a thrill that no one could hope to understand him who had not seen him in his studio at Hillbridge, surrounded by his own works. “The man and the art interpret each other,” their exponent declared; and Claudia Day, bending a brilliant eye on the future, wondered if she were ever to be admitted to the privilege of that double initiation. Keniston, to his other claims to distinction, added that of being hard to know. His friends always hastened to announce the fact to strangers--adding after a pause of suspense that they “would see what they could do.” Visitors in whose favor he was induced to make an exception were further warned that he never spoke unless he was interested--so that they mustn’t mind if he remained silent. It was under these reassuring conditions that, some ten days after her arrival at Hillbridge, Miss Day was introduced to the master’s studio. She found him a tall listless-looking man, who appeared middle-aged to her youth, and who stood before his own pictures with a vaguely interrogative gaze, leaving the task of their interpretation to the lady who had courageously contrived the visit. The studio, to Claudia’s surprise, was bare and shabby. It formed a rambling addition to the small cheerless house in which the artist lived with his mother and a widowed sister. For Claudia it added the last touch to his distinction to learn that he was poor, and that what he earned was devoted to the maintenance of the two limp women who formed a neutral-tinted background to his impressive outline. His pictures of course fetched high prices; but he worked slowly--“painfully,” as his devotees preferred to phrase it--with frequent intervals of ill health and inactivity, and the circle of Keniston connoisseurs was still as small as it was distinguished. The girl’s fancy instantly hailed in him that favorite figure of imaginative youth, the artist who would rather starve than paint a pot-boiler. It is known to comparatively few that the production of successful pot-boilers is an art in itself, and that such heroic abstentions as Keniston’s are not always purely voluntary. On the occasion of her first visit the artist said so