A discreet murmur of approval filled the studio, and through the haze of cigarette smoke Mrs. Clement Westall, as her husband descended from his improvised platform, saw him merged in a congratulatory group of ladies. Westall’s informal talks on “The New Ethics” had drawn about him an eager following of the mentally unemployed--those who, as he had once phrased it, liked to have their brain-food cut up for them. The talks had begun by accident. Westall’s ideas were known to be “advanced,” but hitherto their advance had not been in the direction of publicity. He had been, in his wife’s opinion, almost pusillanimously careful not to let his personal views endanger his professional standing. Of late, however, he had shown a puzzling tendency to dogmatize, to throw down the gauntlet, to flaunt his private code in the face of society; and the relation of the sexes being a topic always sure of an audience, a few admiring friends had persuaded him to give his after-dinner opinions a larger circulation by summing them up in a series of talks at the Van Sideren studio. The Herbert Van Siderens were a couple who subsisted, socially, on the fact that they had a studio. Van Sideren’s pictures were chiefly valuable as accessories to the MISE EN SCÈNE which differentiated his wife’s “afternoons” from the blighting functions held in long New York drawing-rooms, and permitted her to offer their friends whiskey-and-soda instead of tea. Mrs. Van Sideren, for her part, was skilled in making the most of the kind of atmosphere which a lay-figure and an easel create; and if at times she found the illusion hard to maintain, and lost courage to the extent of almost wishing that Herbert could paint, she promptly overcame such moments of weakness by calling in some fresh talent, some extraneous re-enforcement of the “artistic” impression. It was in quest of such aid that she had seized on Westall, coaxing him, somewhat to his wife’s surprise, into a flattered participation in her fraud. It was vaguely felt, in the Van Sideren circle, that all the audacities were artistic, and that a teacher who pronounced marriage immoral was somehow as distinguished as a painter who depicted purple grass and a green sky. The Van Sideren set were tired of the conventional color-scheme in art and conduct.