Ewing thanked him warmly. It was pleasant to find that the recent Simon Legree had his human side. Two of the other men at the table had studios in the same building: Crandall, who made pictures for a comic weekly, and Baldwin, who was a magazine illustrator. They became, like Chalmers, solicitous to oblige the newcomer, and were attentive to Piersoll when he praised, with a quick word or two, the drawings of Ewing. He felt immensely drawn to these men who had dropped their bantering to be kind to him. The crowd of diners had thinned out until only a few lingered over their coffee. From one or another of these scattered groups would come a burst of laughter at the climax of a story, or a bar of song from one who had reached his playtime of the day, and recked not if he advertised this. It was an hour of ease in the Monastery, when its inmates expanded in the knowledge that Sunday lay before them. To some, at least, this could be a day of rest. A musical member came from the rear room to the piano near the long table to play a Liszt rhapsody. When this performer had gone back to his seat one of the men from the big table--he who had lately enacted Little Eva, and whose title of "The Brushwood Boy" Ewing at once related to his beard--seated himself at the instrument. "Heard a great song over on Third Avenue last night," he began. "Wish I could remember--something like this--" His fingers searched for the melody. Ewing caught a transient strain of it and thrilled to recognize Ben's favorite, a thing he might be singing to his guitar in the far-off lonely cabin at that very moment. "'The Fatal Wedding,'" he ventured to the performer. "Sure--that's it! 'The Fatal Wedding.' Wish you fellows could have heard it--rich! How did it go, now?" Ewing recklessly hummed the opening bars. "Go ahead, if you know it!" This came from several of the men. He protested. He would have liked to sing it, yet feared to do so before an audience whose ridicule he had learned to dread. He considered the song to be irreproachable and could understand the apparent enthusiasm about it, but he doubted his worth as a vocalist. "I don't believe I'd better try it," he began; "I know the words--it's the favorite song of an old-time cowboy I've lived with, and he does it right. I couldn't give anything more than a poor imitation of him." The inciting calls were renewed. "Go on! Do your worst! Show us how your friend does it! Silence in the back of the hall!" Piersoll smiled encouragingly and the accompanist struck the opening chords, having at last recalled the air. Ewing diffidently took his place at the end of the piano, with apologetic protests. "I'll do my best, but you should hear Ben Crider sing this."