For all that, Lord Porteous was a capital social asset, and a valiant protagonist. He carried Vera’s name with him wherever he went, even to Mrs. Valentine’s table,--there especially, in fact, because he discovered how much it annoyed her. He disliked her; and she was helpless. iii Like her father, Vera was adventurous with success. No measure was enough. She began to import art objects that were bound to be talked about,--not old masters, nothing so trite as that, but daring, controversial things, the latest word of a modern school or the most authentic fetich of a new movement in thought. Her grand stroke was the purchase in London of the rarest piece of antique negro sculpture then known to exist in the world. It had been miraculously discovered in Africa and was brought to England for sale. Its importance lay in the fact that a certain self-advertised cult, leading a revolt against classic Greek tradition, acclaimed it on sight as the perfect demonstration of some theory which only artists could pretend to understand. Modern sculpture, these people said, was pure in but two of its three dimensions. This African thing, wrought by savages in a time of great antiquity, was pure also in the third dimension. Therefore it excelled anything that was Greek or derived therefrom. A storm of controversy broke upon the absurd little idol’s head. Photographs of it were printed in hundreds of magazines and newspapers in Europe and the United States. And when it came to be sold at auction it was one of the most notorious objects on earth. The British Museum retired after the second bid. Agents acting for private collectors ran the price up rapidly. The bidding, according to the news reports cabled to this country the next morning, was “very spirited,” and the treasure passed at a fabulous price to the agent of “Miss Vera Galt, the well known American collector.” She had engaged the assistance of a dealer who knew how to get publicity in these high matters. English art critics politely regretted that an object of such rare æsthetic interest should leave Europe; American critics exulted accordingly and praised Miss Galt’s enterprise. I was at the studio the day the thing arrived and was unpacked. Besides the initiates, votaries and friends, a number of art critics were present by invitation. Vera, as usual, was detached and tentative, with no air of proprietorship whatever. She was like one of the spectators. Yet every detail of the ceremony had been rigidly ordained. The place prepared to receive the idol was not too conspicuous. It was to be important but not paramount. It must not dominate the scene.