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To this affair, as Tietjens knew, there attached themselves many fine shades. If, for instance, you had asked Macmaster whether he were a writer, he would have replied with the merest suggestion of a deprecatory shrug.

'No, dear lady!' for of course no man would ask the question of anyone so obviously a man of the world. And he would continue with a smile: 'Nothing so fine! A mere trifle at odd moments. A critic, perhaps. Yes! A little of critic.'

Nevertheless Macmaster moved in drawing rooms that, with long curtains, blue china plates, large-patterned wallpapers and large, quiet mirrors, sheltered the long-haired of the Arts. And, as near as possible to the dear ladies who gave the At Homes, Macmaster could keep up the talk--a little magisterially. He liked to be listened to with respect when he spoke of Botticelli, Rossetti, and those early Italian artists whom he called 'The Primitives.' Tietjens had seen him there. And he didn't disapprove.

For, if they weren't, these gatherings, Society, they formed a stage on the long and careful road to a career in a first-class Government office. And, utterly careless as Tietjens imagined himself of careers or offices, he was, if sardonically, quite sympathetic towards his friend's ambitiousnesses. It was an odd friendship, but the oddnesses of friendships are a frequent guarantee of their lasting texture.