Gray youth: The story of a very modern courtship and a very modern marriageOnions, Oliver
General
Gray youth: The story of a very modern courtship and a very modern marriage
Onions, Oliver
Man-woman relationships -- Fiction; Marriage -- Fiction; Women -- Social and moral questions -- Fiction
Cosimo began to set it forth. Halfway up North End Road Amory had
reluctantly to confess that it did seem to be a Law. She had suspected
it before, but never, never had it been made quite so clear to her. She
resolved that she must be very gentle with Dorothy. At that moment she
was very fond of her indeed.
She continued her walk with Cosimo.
V
POUNDS AND SHILLINGS
When Mr. Hamilton Dix, the renowned critic, had first mentioned Amory
in print, he had made a perhaps pardonable error about her sex. But the
error itself had been a compliment. In speaking of "Mr. Amory Towers"
he had been misled by the rugged masculinity of "The Paviors," her
second exhibited picture.
Amory was not sure that she liked Mr. Dix very much. He seemed to her
to have a rather remarkable faculty for slightly impairing the value of
everything of which he wrote or spoke. His conclusions were undeniable;
when Mr. Hamilton Dix had pronounced on a thing Q.E.D. might be written
after that thing; there was no more to be said about it. But somehow
all the fun had gone out of it. You told yourself, grossly unfairly,
that if it interested Mr. Hamilton Dix it had no further interest for
you. That was your loss, since Mr. Dix usually fastened on the best
things. In appearance he was a big man with an overpowering presence, a
promising eye, and brown curls that frothed all over his head like the
"top" of a mug of porter; and you wondered whether a person could ever
be so glad to see anybody whomsoever as Mr. Hamilton Dix appeared to be
to see everybody. He still occasionally called Amory "Mr. Towers" by
way of a joke.
Mr. Dix had no official connection with the Crozier Gallery. He
frequently wrote of "another admirable Exhibition at the Crozier which
no serious student of art must miss," or "the gift of discovering the
best among our younger artists which the proprietors of the Crozier
seem to possess," but that was all. As a professional critic he was not
eligible for membership of the artists' clubs, but he blew like a March
gale through their studios, and the smaller and poorer the studio the
more he irradiated it with the light of his optimistic eye.
Public-domain text, read in full here on John Shaqi.
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