cracked low ceiling, a threadbare carpet of no discoverable hue, an old
desk crowded with documents and volumes, some shelves of books at one
side, and the other three sides simply walled with books and magazines
in irregular piles, except where stood a bed-couch beneath a lot of
prints which served to conceal much of the faded wall-paper.

Tompkins bravely went for the magazines, saying, "You begin with that
pile, and I'll take this. The names of the illustrators are always in the
table of contents; it's simply a matter of glancing down that."

After half an hour's silent work, Tompkins exclaimed, "Here we are!" and
took a magazine to the desk, at which both young men sat down. "'A Heart
in Peril,'" he quoted; "'A Story by James Willis Archway. Illustrated by
Murray Davenport. Page 38.'" He turned over the leaves, and disclosed
some rather striking pictures in half-tone, signed "M.D." Two men and two
women figured in the different illustrations.

"This isn't bad work," said Tompkins. "I can recommend 'M.D.' with a
clear conscience. His women are beautiful in a really high way,--but
they've got a heartless look. There's an odd sort of distinction in his
men's faces, too."

"A kind of scornful discontent," ventured Larcher. "Perhaps the story
requires it."

"Perhaps; but the thing I mean seems to be under the expressions
intended. I should say it was unconscious, a part of the artist's
conception of the masculine face in general before it's individualized.
I'll bet the chap that drew these illustrations isn't precisely the man
in the street, even among artists. He must have a queer outlook on life.