It was at this particular dinner that the thought occurred to Marjorie that the real merit of the art and musical world was not so much in the noisy studio palaver which she heard at so many places frequented by Duer, in times past at least--Charlotte Russell’s, Mildred Ayres’s and elsewhere--but in the solid commercial achievements of such men as Joseph Newcorn, Georges Bland, Melville Ogden Morris, and Sydney Borg. She liked the laconic “Yes, yes,” of Mr. Newcorn, when anything was said that suited him particularly well, and his “I haf seen dat bardicular berformance” with which he interrupted several times when Grand Opera and its stars were up for consideration. She was thinking if only a man like that would take an interest in Duer, how much better it would be for him than all the enthusiasm of these silly noisy studio personalities. She was glad to see also that, intellectually, Duer could hold his own with any and all of these people. He was as much at ease here with Mr. Morris, talking about Greek excavations, as he was with Mr. Borg, discussing American musical conditions. She could not make out much what it was all about, but, of course, it must be very important if these men discussed it. Duer was not sure as yet whether any one knew much more about life than he did. He suspected not, but it might be that some of these eminent curators, art critics, bankers, and managers like M. Bland, had a much wider insight into practical affairs. Practical affairs--he thought. If he only knew something about money! Somehow, though, his mind could not grasp how money was made. It seemed so easy for some people, but for him a grim, dark mystery.