The Congdons had been most generous of letters of introduction, and in addition to those to Mrs. Brent and the Mosses, Bertha was in possession of two or three envelopes addressed to people in New York City, presumably artists also, as they bore the names of certain studios. The note to Moss was unaffected and simple in itself, quite innocent of any qualification, but the letter which had privately preceded it was in the true Congdon vein, and Moss, like Mrs. Brent, did not delay his call. His card was in the Haney box when they returned. "Sorry to miss you. Come into my studio at five if you can," he had pencilled on the back. "Your artistic bunch," Congdon had written, "won't mind meeting one of the most successful and picturesque of our gamblers, Marshall Haney, especially as the walls of his big house are bare and his wife is pretty. They are ripping types, old man; not in the 'best society,' you understand, but I know you'll like 'em. Be as good to 'em as you can without involving anybody. Little Mrs. Haney is a corker. Good start on a self-made career. They're both unsophisticated in a way, and a little real sympathy will drag their secret history to the light. Do a sketch of her for me. She's likely to be famous. Haney is rolling in dough these days--(miner)--and she's bound for some whooping big thing, I don't know what, but she's like a country boy with a stirring ambition. It wouldn't surprise me to see her on Fifth Avenue one of these days. With these few burning words I commend them into your plastic hands. Don't let Sammy paint her, for God's sake. Oh yes, I worked 'em for a couple of canvases. What do you think. In this buoyant climate we all move. Yours in the velvet." With such a letter before him Joe Moss awaited his amazing guests with impatience, cautioning the few who were in the secret not to dodge when the Captain reached for his pocket-handkerchief. "And, above all, you are to praise Colorado and condemn the East as a place of residence." Joe prided himself on his _savoir faire_ and on his apparel, which had nothing about it to distinguish the sculptor. "In fact," he often said, "there _are_ people who say I'm not a sculptor. Be that as it may, I manage by daily care to look like a clerk in a hardware store." And he did. He customarily wore a suit of pepper and salt, neat and trig, a "bowler hat" (as they say in London), a ready-made four-in-hand tie, and a small pearl scarf-pin. "No more fuzzy hair for me, no red tie, no dandruff," he had said on his return from Paris. "Right here we melt into the undistinguishable ocean of the millions, unless we can be distinguished by reason of our sculpture." He always included Julia, his wife, in this way (although she never "modelled a lick"), for she wrote all his letters, made out all his checks, and took charge of him generally. Some said his success was due to her management. She was a dark-eyed, smiling little woman, exquisite in her dress and brisk in her manner.