Whistler, to whom he was introduced casually, an interested stranger.
These men only saw a strong, polite, remote, conservative man.
He realized the emotional, egotistic, and artistic soul. He felt
on the instant that there could be little in common between such
men and himself in so far as personal contact was concerned, yet
there was mutual ground on which they could meet. He could not
be a slavish admirer of anything, only a princely patron. So he
walked and saw, wondering how soon his dreams of grandeur were to
be realized.

In London he bought a portrait by Raeburn; in Paris a plowing scene
by Millet, a small Jan Steen, a battle piece by Meissonier, and a
romantic courtyard scene by Isabey. Thus began the revival of his
former interest in art; the nucleus of that future collection which
was to mean so much to him in later years.

On their return, the building of the new Chicago mansion created
the next interesting diversion in the lives of Aileen and Cowperwood.
Because of some chateaux they saw in France that form, or rather
a modification of it as suggested by Taylor Lord, was adopted. Mr.
Lord figured that it would take all of a year, perhaps a year and
a half, to deliver it in perfect order, but time was of no great
importance in this connection. In the mean while they could
strengthen their social connections and prepare for that interesting
day when they should be of the Chicago elite.

There were, at this time, several elements in Chicago--those who,
having grown suddenly rich from dull poverty, could not so easily
forget the village church and the village social standards; those
who, having inherited wealth, or migrated from the East where