Gradually the artist in him unfolded. It was like a process of nature--slow, silent, sure. In speech he was inarticulate. The spoken word was not his trade; he knew it, and the knowledge made him self-conscious. But give him a brush and he found tongue. His silences were formidable. "The better to eat you with, my dear!" Nothing escaped him. With a secret, fierce impetuosity he was storing away impressions: glances, gestures, lines of faces, colors, inflections of voices, landscapes, phrases, incidents, ideas: he soaked them in like a thirsty sponge. Everything was fish that came to his net. What sometimes looked like an intellectual torpor was the boa constrictor digesting the zebra whole. I doubt if he realized the tremendous vitality of his creative instinct. He went about it as a wild creature roams the forest for its food: it was a law of his being. On tramping trips he would stalk miles in silence; stopping stock still until he had taken in the scarlet-and-gold maple grove in a purple autumn mist; or a mossy wood pile under pines; or the rolling diversity of hill and woodland. No apologies; no explanations. Business. It was soon clear that this young man knew exactly what he wanted and that he intended to get it. There was a kind of animal sagacity about his mind which told it what food to accept and what to reject. "_Künstler_," says Goethe, "_rede nicht. Bilde!_" (Artist, don't talk. Create!) Fritz lived this precept. He would do first, and then let the doing speak for itself. When a young man is so determined to do something that he cannot be got to talk about it, you may consider the thing as good as done. Here was a hungry mind, seeking what it might devour and devouring it. All that provender was being assimilated. It could not evaporate in talk, for Fritz was no talker. It had to be expressed somehow and that somehow would have to be with a brush.... Oh, he came and went disguised in the business suit of a young man dedicated to the career of buying in the cheapest market and selling in the dearest: pleasant, friendly, a prodigious eater, a sound sleeper, invincibly healthy,--and with only that silent intentness of eye to betray the secret of the creative power he carried within him. But that winter it was surprised out of him. Fred Middleton, then twenty-seven years old, six years out of Harvard College, thoroughly conversant with the ethics of modern business, was preparing to _de_-class himself and earn an honest living by manual labor on the land--a farmer, and not a "gentleman farmer." With mock solemnity Fritz was commissioned to do a portrait of Fred. The transaction was conducted on a basis of "free agreement" which would have satisfied even Peter Kropotkin. The painter was to do it any way he chose--absolute free speech. The sitter was to choose any clothes he liked, to sit till he was tired, and stretch when he pleased. The purchaser was to pay what he was able. So everybody was happy, being free.