The conversation wandered its intense intellectual way from American musicians and singers, European painters and sculptors, discoveries of ancient pottery in the isles of the Ægean, to the manufacture of fine glass on Long Island, the character of certain collectors and collections of paintings in America, and the present state of the Fine Arts Museum. Duer listened eagerly, for, as yet, he was a little uncertain of himself, his position in the art world. He did not quite know how to take these fine and able personages who seemed so powerful in the world’s affairs. Joseph Newcorn, as M. Bland calmly indicated to him, must be worth in the neighborhood of fifteen million dollars. He thought nothing, so he said, of paying ten, fifteen, twenty, thirty thousand dollars for a picture if it appealed to him. Mr. Morris was a graduate of Harvard, formerly curator of a Western museum, the leader of one of the excavating expeditions to Melos in the Grecian Archipelago. Sydney Borg was a student of musical history, who appeared to have a wide knowledge of art tendencies here and abroad, but who, nevertheless, wrote musical criticisms for a living. He was a little man of Norse extraction on his father’s side, but, as he laughingly admitted, born and raised in McKeesport, Pennsylvania. He liked Duer for his simple acknowledgment of the fact that he came from a small town in the Middle West, and a drug business out in Illinois. “It’s curious how our nation brings able men from the ranks,” he said to Duer. “It’s one of the great, joyous, hopeful facts about this country.” “Yes,” said Duer; “that’s why I like it so much.” Duer thought, as he dined here, how strange America was, with its mixture of races, its unexpected sources of talent, its tremendous wealth and confidence. His own beginning, so very humble at first, so very promising now--one of the most talked of pianists of his day--was in its way an illustration of its resources in so far as talent was concerned. Mr. Newcorn, who had once been a tailor, so he was told, and his wife was another case in point. They were such solid, unemotional, practical-looking people, and yet he could see that this solid looking man whom some musicians might possibly have sneered at for his self-complacency and curiously accented English, was as wise and sane and keen and kindly as any one present, perhaps more so, and as wise in matters musical. The only difference between him and the average American was that he was exceptionally practical and not given to nervous enthusiasm. Marjorie liked him, too.