The broad ax., 1926-06-05
Ancestors Like
That
~~~~~~~~~~~~~~~~~~~~~,
BY JANE OSBORN


- dugneS were among those pres
ent" at tea that afternoon at Doris
Blake's.
There's Pauline Granger" some
one was telling Rodman at one end
OF the spacious living room. civilian
III. Changers daughter-loads of
money-you know Changers soaps
and powders"
THE girl with the reddish hair and
the unbecoming brown dressf"
Yes" agreed his informer. rs the
dress unbecoming? 1t probably cost
enough. Want to meet her?
Not IL I don't have to-" said Rod
man, and after that he looked
through his artists eyes once or twice
at Pauline, to try to discover just why
the brown frock in question was not
becoming Quite impersonally he de-
cided that the girl was not in the
least bad looking.
"Who is that young man7" Pauline
asked her hostess little later. He'd
be rather nice to look at II he had a
good tailor"
why, that's Rodman Hughes. May
be you've heard of him. An artist
does portraits. He's been quite sue
cessful with ancestors lately. You
know-he takes old tintypes or da-
guerreotypes or sketches of peoples
ancestors and makes wonderful paint
ings of them"
Il must meet him. said Pauline. II
suppose you'd call us newly rich,
wouldn't your Well. I'm going to get
cestors. Father will howl at the idea.
but he'll let me have Il done"
So Doris Blake sought out the young
artist and led him to be presented to
Pauline Granger, and Pauline ar
ranged to call at his studio the next
day to talk over ancestors"
So before he quite realized what he
was doing Rodman told her Of his am
billions. He had wanted to be a por-
trait painter. He knew he could do
It. Meantime. in order to make the
money needed for further study
abroad he had taken up with this idea
Of making ancestor portraits to order.
- ~
painting portraits Of live people, but
II had Its satisfaction.
Meantime" said Rodman, 81 hope
that initiating the technique Of those
old fellows won't spoil my style for
life. I've got to keep going at this
sort of thing until can afford two
or three years independence abroad"
Pauline produced several funny
little daguerreotypes and tin-types.
This Is grandmother Granger, and
this is her mother" she said. "1 his 10
my mothers grandmother and grand
father"
A less inspired portraitist than Rod
man Hughes might have seen precious
little material for paintings In these
little pictures.
"Of course, I'd want you to give
them considerably more Tone" said
Pauline frankly. "and Of course the
clothes could be changed"
81 understand" said Rodman, grave
ly. TN the meantime I'd like you to
tell me all you know Of these people.
their nationality or descent. their vir-
tues and their failings. I have to TO
construct their personalities before
can begin the work. For this lady
here in the checked dress-your great
grandmother, I'd suggest a pose some
thing like this" Rodman led Pauline
to one end of his studio and showed
the picture Of an aristocratic lady Of
the early Nineteenth century.
"This Is an example Of the finest
type Of portrait work Of that period.
She was a daughter of an earl. She
Is my grandmother's mother"
Imagine having ancestors like
that" exclaimed Pauline.
"They do me little good" laughed
Rodman, save with their portraits. ]
have quite a collection OF them and
by studying those old portraits have
been able to make pretty good imita-
lions. I believe I'm descended from
q French king and there's an English
king somewhere along the line. But
that's nothing to boast Of"
"Still," said Pauline unaffectedly,
I'D love to have ancestors like that
LnhuA INV LuCy VI AVOA Un bnc WuAi
Rodman laughed and Pauline looked
over her pathetic little packet Of pic
lures MY poor little ancestors look
pretty small after yours. still, I'm
not ashamed Of them and I think
they'd appreciate what I'm having
done for them"
So the work was begun, but FIRST
Rodman and Pauline had to spend
many afternoons together discussing
the personalities OF these forebears OF
hers. And all the time Pauline was
wishing that she might treble the sum
to be paid for the work, to make II
possible for Rodman to start ut onca
on the European study that he wanted
to take.
After the last portrait had been I'm
ished and Pauline stood one day In
Rodman's studio he came to her with
hands outstretched.
Pauline he said, Il love you. j
have no right TO ask you 10 marry ma
now, but / want you to know. I'm
going to work very hard, and some
day when I've succeeded an a real
portrait painter / win want you to
know that I have done II all for you.
I shall never marry"
you silly man." said Pauline, I've
been 50 afraid you wouldn't ask me.
And wen be married in the spring