Then, here and there, appeared the signed critiques of the men whose opinion counted--and Bertram knew that he had failed.

Neither as a work of art, nor as a likeness, was the portrait the success that Henshaw's former work would seem to indicate that it should have been.

Indeed, as one caustic pen put it, if this were to be taken as a sample of what was to follow--then the famous originator of "The Face of a Girl" had "a most distinguished future behind him." Seldom, if ever before, had an exhibited portrait attracted so much attention.

As Bertram had said, uncounted eyes were watching for it before it was hung, because it was a portrait of the noted beauty, Marguerite Winthrop, and because two other well-known artists had failed where he, Bertram Henshaw, was hoping to succeed.

After it was hung, and the uncounted eyes had seen it--either literally, or through the eyes of the critics--interest seemed rather to grow than to lessen, for other uncounted eyes wanted to see what all the fuss was about, anyway.