What he meant to do with it he did not know, half ashamed as he was of its satiric cleverness.

Painters would hate it--stand hypnotised, spellbound the while--and hate it, for they are a serious sort, your painters of pictures, and they couldn't appreciate an art which made fun of art; they would execrate the uncanny mastery and utterly miss the gay perversity of the performance, and Duane knew it and laughed wickedly.
What a shock! What would sober, seriously inclined people think if an actor who was eminently fitted to play _Lear_, should bow to his audience and earnestly perform a very complicated and perfect flip-flap?
Amused with his own disrespectful reflections, he stood before the picture, turning from it with a grin from time to time to compare it with some dozen vigorous canvases hanging along the studio wall--studies that he knew would instantly command the owlish respect of the truly earnest--connoisseurs, critics, and academicians in this very earnest land of ours.
There was a Sargent-like portrait of old Miller, with something of that great master's raucous colouring and perhaps intentional discords, and all of his technical effrontery; and here, too, lurked that shadow of mockery ever latent in the young man's brush--something far more subtle than caricature or parody--deeper than the imitation of manner--something like the evanescent caprice of a strong hand, which seems to threaten for a second, then passes on lightly, surely, transforming its menace into a caress.
There were two adorable nude studies of Miller's granddaughters, aged six and seven--quaintly and engagingly formal in their naive astonishment at finding themselves quite naked.

There was a fine sketch of Howker, wrinkled, dim-eyed, every inch a butler, every fibre in him the dignified and self-respecting, old-time servant, who added his dignity to that of the house he had served so long and well.

The latter picture was masterly, recalling Gandara's earlier simplicity and Whistler's single-minded concentration without that gentleman's rickety drawing and harmonious arrangements in mud.
For in Duane's work, from somewhere deep within, there radiated outward something of that internal glow which never entirely fades from the canvases of the old masters--which survives mould and age, the opacity of varnish, and the well-intentioned maltreatment of unbaked curators.
There was no mystery about it; he prepared his canvas with white-lead, gave it a long sun-bath, modelled in bone-black and an earth-red, gave it another bath in the sun, and then glazed.

This, a choice of permanent colours, and oil as a medium, was the mechanical technique.
Standing there, thoughts remote, idly sorting and re-sorting his brushes, he heard the birds singing on the forest's edge, heard the wind in the pines blowing, with the sound of flowing water, felt the warmth of the sun, breathed the mounting freshness from the fields.