was suave, his tone well modulated, his accent correct, his
English faultless. And yet Fanny Brandeis, studying the
etchings on his wall, her back turned to him, smiled to
herself. The voice, the tone, the accent, the English, did
not ring true They were acquired graces, exquisite
imitations of the real thing. Fanny Brandeis knew. She was
playing the same game herself. She understood this man now,
after two months in the Haynes-Cooper plant. These
marvelous examples of the etcher's art, for example. They
were the struggle for expression of a man whose youth had
been bare of such things. His love for them was much the
same as that which impels the new made millionaire to buy
rare pictures, rich hangings, tapestries, rugs, not so much
in the desire to impress the world with his wealth as to
satisfy the craving for beauty, the longing to possess that
which is exquisite, and fine, and almost unobtainable. You
have seen how a woman, long denied luxuries, feeds her
starved senses on soft silken things, on laces and gleaming
jewels, for pure sensuous delight in their feel and look.

Thus Fanny mused as she eyed these treasures--grim, deft,
repressed things, done with that economy of line which is
the test of the etcher's art.

Fenger hung up the receiver.

"So it's taken you two months, Miss Brandeis. I was awfully
afraid, from the start you made, that you'd be back here in
a week, bursting with ideas."