"I should estimate that they have about twenty-eight thousand samples at Heminway and Shipman's," the girl continued. "Cousin Henrietta possesses a fine old spirit of thoroughness which made it necessary for us to see them all. We sat on a red plush sofa while a truly affable young man kept flopping the sheets of samples over the back of an easel. That is, he was truly affable for an hour or two; after that he grew a little reticent. At first some of the samples interested me. There was one design of a row of cockatoos, each one standing on a wreath of lilacs, that was fascinating, and I liked one that looked like a flock of nectarines hiding in the interstices of a steam radiator. The young man made encouraging suggestions at first, but at the last, scarcely,--although I was so nearly stupefied that I doubt whether I would have heard him even if he had said what he really thought." She took up her cup. "But the walk here did me a lot of good--I walked fast." "Where your cousin made her mistake," Wilkinson observed, "was in going in for wall papers at all. She should have abandoned the idea of papering her walls, and retained our talented friend, Stanwood Pelgram, to paint them, instead. A splendid conception! How I should like to have attended the pirate view of Miss Lyons's flat, when the last coat of distemper had dried on the parlor ceiling and Stanwood had put the affectionate finishing touches on the decorative panel portrait of Lucretia Borgia in the oval above the kitchen stove! The whole thing would have been a magnificent and unusual symbol of the triumph of paint over paper--a new and vivid illustration of the practical value of true art." "Oh, nonsense, Charlie!" said Pelgram, much annoyed at being made the rather vulnerable subject of Wilkinson's humor. His tormentor was delighted at perceiving his victim writhe and went gayly on. "But unhappily our Stanwood is so impractical. Probably he would have declined the commission. Atmospheric envelopes slowly en route to the dead letter office of dream pastels demand his whole attention. Painting is crass; he mildly cameos. Tonal nuances--shades of imperceptible difference in the shadowy debatable land between things colored exactly alike--claim his earnest interpretation. When he rarely speaks, it is usually an important contribution to the world's artistic knowledge on some such subject as 'The Influence of Rubens' Grandmother on his Portraits of his Second Wife' or 'The True Alma Mater of Alma Tadema.'" The artist, whose round smooth face was pink with rage, almost choked, but was wholly unable to reply. That he should be made the gross butt of a man such as Wilkinson was bad enough, but that this should take place in the presence of ladies--and especially of Helen Maitland--was almost unendurable.