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 923 Arch Street. Philadelphie^. 
 
A Patron of Art 
 
 A FARCE IN ONE ACT 
 
 By Dora Jldele Shoemaker 
 
 cAuthor of *'cA Fighting Chance " 
 
 PHILADELPHIA 
 
 THE PENN PUBLISHING COMPANY 
 
 1 3 Ol 
 
 tol 
 

 THE L'BRARY OF 
 
 CONGRESS, 
 Two Copies Received 
 
 JUN. 5 1901 
 
 //'COPYfHQHT ENTRY 
 
 CLASS ^XXa No. 
 COPY A. 
 
 Copyright 1901 by The Penn Publishing Company 
 
CAST OF CHARACTERS 
 
 As originally produced at The National School Elocution 
 and Oratory^ Philadelphia, Fa., Friday, April ij, igoo. 
 
 Mrs. Augusta Alexandria Morley . Edith G. Moses 
 A member of forty-tivo clubs and a patron of art 
 
 Genevieve Genevra Morley . . Grace Marliii 
 Her daughter 
 
 Jewel Dumont .... Mae G. Young 
 
 Who will speak for herself 
 
 Theresa Blumenshenkel . . Helen Oberley 
 
 A cousin from Reading 
 
 Miss Ernestine Moneyclacker Rittenhouse, 
 
 — Dora A. Shoemaker 
 From below Market street 
 
 Marie ...... Canie C. Tilton 
 
 Her maid 
 
 Bridget ..... Mabel McGeorge 
 
 Of Irish descent 
 
 Time — Afternoon. Place — Philadelphia, Mrs. Morley's 
 residence, as yet north of Market street. 
 
 Time in representation, one hour. 
 
 Costumes in accordance with characters. 
 
A Patron of Art 
 
 SCENE. — Reception room Mrs. Morlef s residence. Win- 
 doiv hung zuith drapery, up r. Chairs , sofa, etc. Street 
 entrance down '^. Hall entrance Q.. in flat. Entrance to 
 other parts of house l. u. e. Curtain rises discovering 
 Mrs. Morley alone, putting finishing touches to roo?n. 
 She speaks ivith affectation. 
 
 Mrs. Morley. There, that seems to look aesthetically 
 intellectual. To combine thus the feeling and the mind is 
 to make a soul union that grosser natures can never — can 
 
 never — now what shall I say ? — Where's my dictionary 
 
 Oh, I know ! Can never — consummate to — at No, to. 
 
 Indeed I should keep a list of convenient words at hand. 
 Now this compartment must appear effective, for to-day I 
 expect the new music teacher, the new nurse maid, and, 
 ah ! Miss Ernestine Moneyclacker Rittenhouse. {Strikes 
 attitude.) What a delightful intellectual-financio-social ring 
 that name has to it. I must impress her, for she is my open 
 sesame to the four hundred, and I as a patron of arts and 
 sciences — indeed of the arts and sciences ancient and modern 
 — must. ( Crash outside — Mrs. Morley////j- hands to ears. ) 
 My sensitive eardrums ! There's that awful child again ! 
 She breaks in so upon one's soul soliloquies. If she only 
 had some life to her, some — some bete noir — I think that's 
 the word. 
 
 {Enter Genevieve, l. looking frightened.) 
 
 Genevieve. Can I come in? 
 
 Mrs. Morley. Certainly not. This is the reception 
 room, not the nursery. Go at once — if I have time before 
 attending the Soulful Union, The Chib for the Ethical Chil- 
 dren's Home and the Mothers' Meeting I'll see you for a 
 moment. 
 
 5 
 
6 A PATRON OF ART 
 
 Genevieve. But, mamma 
 
 Mrs. Morlev. Withdraw this instant. 
 
 Genevieve, Do what ? 
 
 Mrs. Morley (excitedly). Can't you understand Eng- 
 
 hsh — withdraw — retire — absent yourself (^As child 
 
 stands ivith open mouth.) Go out ! 
 
 (^Exit Genevieve l. tripping in her haste.) 
 
 Mrs. Morley. Such awkwardness ! The idea of lier 
 coming in here ! Miss Rittenhouse might have appeared at 
 any moment, and oh ! ye shades of Tolstoi and George 
 Eliot — I wonder who he was — these books have never been 
 arranged. {Shifting volumes^) There, that's a history of 
 the famous Quaker family Morley. To be sure Gussie isn't 
 mentioned, but there is an Alexandria on the first page. 
 Now to bethumb those Greek books that liave just arrived — 
 I wonder which way is right side up. (Business.) A few 
 lead pencil marks. (Business.) Cut these pages and oh, 
 
 yes, place one of these fresh flowers in — near the end, so 
 
 (Picks up neivspaper.) Here's that advertisement 1 an- 
 swered. How symmetrically it reads. (Reads.) "Child's 
 nurse, thoroughly capable and trustworthy, having served in 
 the royal family. A fluent conversationalist, of Irish de- 
 scent." Now that reads auspiciously. (Ring heard off yl. 
 Mrs. Morley immediately puts herself to rights, rushes to 
 draperies and looks out.) It is she at last. AVhat soul- 
 relishing feathers — what mindful taste in colors. I will 
 stand here as though just arriving. (Down. L.) As she 
 enters I'll rush forward. 
 
 Voice (outside). You'll find her in the reception room. 
 
 (^Enter Bridget r., and turns to gaze about, so that Mrs. 
 Morley /// coming to her does not see face.) 
 
 Mrs. Morley. My darling Miss ( Takes her hands. 
 
 Glajices up.) Horrors ! (Business.) 
 
 Bridget. Good-mornin', the top ave the mornin' (i 
 afthernoon as it is, to yer — yer quoite a darlint yersilf wid 
 thot plisant look on yer swate face. (Aside.) I wonder if 
 it'll freeze thot way. 
 
 Mrs. Morley (recovering herself and aside). I must 
 impress her. She's too big to handle otherwise, (ll'ith 
 much manner.) Ah ! my soul's eye descries you as Bridget 
 Donohue 
 
A PATRON OF ART y 
 
 Bridget (iiiterruptur;). Yer sowl has a good eye at 
 that, mum. 
 
 j\Irs. Morley {coutinuiii^ and comnicnci/iq to soar'). 
 Whose genealogical and ethicalistic biography I plucked 
 before my last eve's repining from the hidden depths of the 
 — of the — the — newspaper. {Bridget stands takim^ it all 
 in.) My soul 
 
 Bridget {Jookin'^ about). Have you it wid you, mum? 
 
 Mrs. Morley (^loftily). Have I what with me ? 
 
 Bridget. Yer sowl. Anny time you lose it jist adver- 
 toise in the Oitem, and ye'll get annything yer want, from 
 a green harp to a black oi. 
 
 Mrs. Morley. Now Bridget can you take care of chil- 
 dren — well-bred — well brought-up children? 
 
 Brid(;et. I kin thot, mum. (^Aside.) Look at me 
 sthrong hand. 
 
 Mrs. Morley. This child must have nothing but good 
 English — I do not wish her to learn the street slang. 
 
 Bridget. Trust Bridget fer thot. The Prince of Whales 
 used ter take a lisson in the ''Quane's Henglish " from me 
 ivery day. 
 
 Mrs. Morley. Have you any reputations written out ? 
 
 Bridget. Phwat, mum? Oh, you mane a rifference? 
 Vis, I hev fourteen av thim. [Aside.) Tin thot I wrote 
 mesilf, the other four not bein' desirable to be seen. 
 
 Mrs. Morley. Now, as to wages, or shall I term it 
 salary ? 
 
 Bridget. Honorarium, mum. Seein' it's you, mum, 
 I'll take siven dollars ivry wake, to be paid in advance fer 
 the heavy wurruk. 
 
 Mrs. Morley. Very \vell. Now, I think you'll suit, 
 Bridget. Of course you must do your duty by the dear 
 chilli, who loves her sweet home. (^IValks to door r.) 
 
 Bridget {aside). Home, swate home, is it? Oi think 
 so, nit, — as the Frinch people soy. (^To Mrs. Morley.) 
 Ferst mum, Oi'd loike to ask a few quistions, plaze. 
 
 Mrs. Morley (aside). What can she mean? [Turn- 
 ing.) Well? 
 
 Bridget. Hev yez a pianny? 
 
 Mrs. Morley {impatiently). Certainly, my daughter is 
 just commencing her lessons. Why did you wish to 
 know ? 
 
 Bridget. Oh ! Oi occasional strum a little mesilf whin 
 
8 A PATRON OF ART 
 
 there's a instrument av thot koind of torture around. An' 
 hev yez a coachman ? 
 
 Mrs. Morley. Of course. Why ? 
 
 Bridget. An' is he married? 
 
 Mrs. Morley. Yes — he is. 
 
 Bridget (^going towards door r.). Thin Oi'U not sthay. 
 
 Mrs. Morley. His wife's dead. 
 
 Bridget {turning^. Indade, an' she not Hvin' wid him 
 at all at all. Oi think Oi'U sthay afther all. 
 
 Mrs. Morley. Come now, Bridget, I'm a woman of 
 many functions, and I must not procrastinate. This way. 
 
 (^Exit both L. Enter Jewel r. with music roll. Bell rings 
 off R.) 
 
 Jewel. Well, here I am in the funniest one of my wild 
 ventures. It's in a good cause, though, as it's all for his 
 sake, and that babe Genevieve. I wonder if I look the 
 part all right. [Surveys herself.) Jewel Dumont — music 
 teacher — ha, ha. (^Door bell rings.) There's the bell. 
 I'll just run across the hall into the music room and wait for 
 her august presence. 
 
 [Exit Jewel c.) 
 
 Mrs. Morley (rushing in l.). I'm sure that's Ernestine 
 now. This I think is my proper pose. {Assu?nes attitude 
 of thought. ) 
 
 {Efiter Theresa r. Sa?ne business as before, Mrs. Mor- 
 ley rushing up and kissing her cheeks.) 
 
 Mrs. Morley. My sweet Ernestine. How dear of you. 
 (^Looks up. Business as before.) 
 
 Theresa. Dot vas von nice greetings, from you. You 
 got von shmile — nice. 
 
 Mrs. Morley. How dare you insult me. Who are you? 
 My soul has no acquaintance with your kind. 
 
 Theresa. Den dot soul from yours don't tells de truths. 
 It should have dem spectacles — forme? Vy ! Dotcousin- 
 mit-law from yours, Theresa Blumenshenkel \ot comes to 
 make a wisit. Verstehest net ? 
 
 Mrs. Morley {aside). Ye gods, is that creature going 
 to stay here ? 
 
 Theresa, You got no hello for me, ain't it? 
 
A PATRON OF ART 9 
 
 Mrs. Morley {aside). A cousin of my late husband. I 
 can't put her out. Well, I'll be absent and Bridget can 
 entertain her. {Aloud.) Ah, Theresa, you must arrange 
 to stay with me over night. 
 
 Theresa. No, no. 
 
 Mrs. Morley. But indeed you must. 
 
 Theresa. No, cousin-mit-law, for I already makes my 
 blaiis to shtay two veeks. 
 
 Mrs. Morley. Two weeks, why with whom ? 
 
 Theresa, Vy ! Wis you, my crand cousin-mit-law. 
 
 Mrs. Morley {aside). What shall I do ! {Riji<r at 
 door bell off R.) Oh, dear, that must be Ernestine, and I 
 should faint to have her see this old hag. (Up l., aloud.) 
 Come, Theresa, I'll show you to your room. 
 
 Theresa. In a minute, cousin-mit-law. Dis room has 
 
 no furniture to speak of — not a organ {Doorbell 
 
 again.) 
 
 Mrs. Morley {aside). That beastly butler. {Aloud.) 
 Come, come at once, I think that bell's for a fire. {Drag- 
 ging her L. ) 
 
 Theresa (j-/;;'/<f4'///^). Ach, a fire ! Ver? Ver? 
 
 {Exit both L., as Ernestine ajid maid enter r. Theresa 
 
 leaves umbrella. ) 
 
 Ernestine {to fnaid, who waits at door). Come in, 
 why do you remain there? — Stupid. Unfasten my veil. 
 You are jerking my hat. Well, why don't you remove it? 
 There. {To herself.) Now who was that old fright who 
 went out as we entered ? I'll wager Mrs. Morley would be 
 perfectly furious if she thought I had seen her. ( To maid, 
 who is 7vaiting with veil.) What are you doing? Put it 
 down. I never heard of such impudence. {Sees umbrella 
 and points to it.) Now that's a nice article of furniture. 
 {Raises it daintily in fingers.) The inevitable association 
 in such a locality — can't help it — I must have entrance to 
 those last fourteen clubs and she can put me in — besides, 
 there's the boy — my hat is set for him, and a Rittenhouse 
 never does that but once. He certainly is the real thing. 
 I wonder how Mrs. Ernestine Rittenhouse Morley will 
 sound. {To maid, who is taking it all in.) For goodness 
 sake don't stand around listening to every word I say. Ar- 
 range the lowest pin in the left hand side of my collar. Oh, 
 I wish you'd sit down, you make me feel so fatigued. {As 
 
10 A PATRON OF ART 
 
 maii would obey.) How dare you in my presence 
 
 Stand up. 
 
 Marie. Miss, you told me to 
 
 Ernestine. Don't presume to answer back. Did I not 
 remark distinctly that you were to call me mademoiselle ? 
 I shall discharge you in about five seconds. (Mrs. Morlev 
 cnte7's unseen from l.) For being the most inarticulate!) 
 
 brainless idiot that I ever hope to meet on this side 
 
 {Sees Mrs. Morlev. Instant chans^e.) Oh, you dear, to 
 slip in {takes both her hands), and hear me rehearsing for 
 our new play. {^Business for Marie.) You know we busy 
 people begrudge an unoccupied moment. 
 
 Mrs. Morlev. My darling Ernestine, allow me as a 
 patron of art and a fond club member to welcome you with 
 
 one of my favorite Greek quotations {^Quotation. 
 
 Aside.) I know that was the wrong way round. 
 
 Ernestine. How sweet of you. But we pronounce our 
 Greek so differently. (Mrs. Morlev anxiously consults 
 books. Aside.) The only Greek I ever read was her last 
 letter. {^Aloiid to maid.) Marie, carry my veil to the car- 
 riage and wait for us. 
 
 Mrs. Morlev. How clever you are, my dear, so that we 
 may be alone. Now do be seated while we talk plans. This 
 afternoon the four meetings we spoke of. To-morrow a. al — 
 
 Ernestine. I golf — ah! — I go off to my Cercle Fran- 
 9aise. {^Aside.) Nearly a break. 
 
 Mrs. Morlev. And in the afternoon ? 
 
 Ernestine. The football game. 
 
 Mrs. Morlev. The what? 
 
 Ernestine. Au Ballon jeu 
 
 Mrs. Morlev. Of course — certainly. {^Aside.) What 
 does she mean? 
 
 Ernestine. Ah, my dear — may I not call you Mrs. 
 Gussie ? 
 
 Mrs. Morlev. Oh, not that odious name, but greet \wki 
 with x\lexandria, my middle name. 
 
 Ernestine. A family name? 
 
 Mrs. Morlev. Yes. {Aside.) I hunted it up thr( e 
 weeks ago. {Aloud.) Now I must tell you as a young dis- 
 ciple of clubs of the beautiful influence and wonderful mi - 
 tual helpfuhiess of these women's associations. Club lile 
 puts a woman on her feet, gives her a chance in all branches 
 of occupations, — broadens, educates, enlivens and fills her 
 
A PATRON OF ART II 
 
 with that all-pervading charitableness for her neighbor, — 
 and by the way, darling Ernestine, at the first club we visit 
 be sure to be excessively disagreeable to the secretary, and 
 at the third meeting don't speak in any way to the creature 
 that wormed herself in for president. My clique is now 
 working to overthrow that party at the next election, and I 
 may safely add that as I am — a patron of the arts and sci- 
 ences — and a member of every well-known club in town — 1 
 may expect too — well, to be given such an office as I — as I 
 — deserve. 
 
 {Enter Bridget c.) 
 
 Bridget. If yez plaze, mum, the new music teacher's in 
 the pianny room. 
 
 (^E liter Jewel c. ) 
 
 Jewel. Mrs. Morley, I believe. {They bow?) 
 
 Theresa {enterin.'^ l.). I haf my umbrella 
 
 Mrs. Morley [much worked up). Just retire. I'll see 
 you all in a moment. Bridget, attend to Genevieve. 
 
 {^Exit Jewel and Bridget c.) 
 
 Theresa {admiring Ernestine, who in turn uses lor- 
 gnettes'). My goodness alive ! Vat a crand dress ! Ah ! 
 It's too bad, you haf sore eyes, ain't it ? 
 
 Mrs. Morlev. Go at once, Theresa. {^Aside.) Do go, 
 I will explain later. 
 
 Theresa. Ja, I must get vonce first my umbrella. 
 
 (Ernestine hiughs as Mrs. Morley turns away in de- 
 spair. Exit Theresa l. with umbrella.) 
 
 Mrs. Morlev. Having too many servants is almost 
 worse than too few. 
 
 Ernestine {archly). Yes, I should judge so. 
 
 Mrs. Morley {preparing to go). I quite agree with 
 Mrs. Blaine, of Chicago 
 
 Ernestine. That servants should constitute relay 
 races 
 
 Mrs. Morley. And people of wealth should be rated 
 by the number employed, the proper time for domestics 
 being {Both going toward door r.) 
 
 Ernestine. Five minutes each, with then a grateful rest. 
 
 Mrs. Morley {aside, allowing Ernestine to pass out 
 
T2 A PATRON OF ART 
 
 R.). What exquisitely patriarchal ideas she has. If I only 
 can hold her. 
 
 {Exit Mrs. Morley r. as Jewel enters c.) 
 
 Jewel. Well, this is the worst. In her excitement Mrs. 
 Morley has gone off without seeing me. Bridget is at pres- 
 ent monopolizing the music room instructing the coachman 
 on the piano. Genevieve is with Miss Blumenshenkel — I 
 like that Dutch woman and I believe she'll help me out. 
 Poor little Genevieve — Tom told me how it was, and I'll do 
 my best for Tom — Mrs. Jewel Morley — that sounds all 
 right. I guess his mother would turn the direction of her 
 toes fast enough if she knew what was really occurring. But 
 — something must be done. I'll see Dutchy first thing. 
 
 (^Exit Jewel l. Eiite?- Bridget a7id Genevieve c. Gene- 
 vieve eating an immense piece of cake, her blouse filled 
 with apples.^ 
 
 Bridget. Me darlint Jinniveeve, ye hev the appetite of 
 a goat sure. That's the third pace to me knowin' and four 
 country apples tucked in the blouse of yez. 
 
 Genevieve. Well, Bridget, Cousin Theresa gave 'em to 
 me, and I was so hungry, and mamma watches me eat like 
 a hawk. 
 
 Bridget. And faith, thin, how do yez ate loike thot? 
 
 Genevieve. I mean she watches me eat — like a hawk. 
 
 Bridget. Yez mane loike a hawk — she watches yez ate. 
 
 Genevieve. Oh, yes, Bridget, and I never dare have 
 but a pinch of anything, and I do like you and Miss Du- 
 mont and Cousin Theresa. I believe I'm going to begin to 
 have a good time. It's been so lonely — I'm not even al- 
 lowed to go to school. Bridget, do you know any stories? 
 (Bridget sits on stool and Ge-ne\ieye at her feet.) I'm 
 not allowed fairy tales or about ghosts — I must not be. 
 frightened. 
 
 Bridget. Yis, darlint, and Oi'll tell you one about gob- 
 lings and witches — thim ain't fairies. 
 
 Genevieve {doubtfully). No, I think they'd be all right. 
 {Pulls out apple and eats.~) 
 
 Bridget. Well, onc't they wuz a little goirl and she'd 
 bten lift all alone be hersilf widout anny one else — (Gene- 
 vieve puts hand on Bridget's k?tee) and ivrything wuz all 
 
A PATRON OF ART 1 3 
 
 dark — terruble dark — and she saw oies a-lookin' (Gene- 
 vieve busi/iess) at her and they wuz tlie gobhngs 
 
 Genevieve. Oh-h-h-h ! 
 
 Bridget. Yis, and they grabbed her quick loike this ! 
 (Genevieve screams.') Are you skeered ? 
 
 Genevieve. No — I — I'm not scared — I'm just — jusf 
 thinking. 
 
 Bridget (impressively). And they took her at onc't to 
 Fiddler's Green 
 
 Genevieve. Where's that? 
 
 Bridget. It's where the ould b'y wathers his monkies, 
 siventeen thousand fathoms below — the other place. {Point- 
 ing down ; Genevieve with hands still on Bridget's knees 
 gradually raises herself and looks straight into Bridget's 
 eyes intently.) And there they wuz nothin' but ghosts 
 
 Genevieve. I can't have ghosts 
 
 Bridget. Be aisy now, I nivir said ghosts. Yer break- 
 ing me train av thought — me sowl won't be able to find it 
 again at all at all. 
 
 Genevieve. Oh, don't, that's like mamma. I hate peo- 
 ple with souls. 
 
 Bridget. Well, these things wuz nothin' but cratr.rs 
 that you could see roight through and ogres and witches 
 wid wan oi, two teeth and three hairs to their head 
 
 Genevieve. Did they have souls ? 
 
 Bridget. No, Oi think they'd lost thim an ther way 
 down, so to shpake — and the little gurl wuz that nice and 
 fat thot they all wanted to ate her up 
 
 Genevieve. Oh, dear, am I fat ? 
 
 Bridget. Jist about roight, my dear, an' wan av thim 
 sez he'd have her brains and another wanted her purty fin- 
 gers for soup, and the third 
 
 [Enter Theresa ^7/^ Jewel l.) 
 
 Jewel. Why, Bridget, that child looks frightened U 
 death. What are you telling her ? 
 
 Bridget (prising). Jist the histhry of me counthry, 
 mum. 
 
 Jewel. And Genevieve, what is the matter with your 
 blouse ? 
 
 Genevieve. It's only apples — please let me keep them, 
 Miss Dumont, I'm having such a good time. 
 
 Jewel. Very well, run along with Bridget, I'll give you 
 
14 A PATRON OF ART 
 
 your lesion in a few minutes. Have }Our hands washed 
 awhile. 
 
 Genevieve {(Js she and Bridget exit l.). And what 
 did the third want, Bridget ? 
 
 Jewel. Now, Miss Blumenshenkel, I think we under- 
 stand each other and agree that some severe measures must 
 he taken at once. Genevieve, poor lonely child, has no 
 bringing up at all, and Mrs. Morley is acting like 
 
 Theresa. Like von pig fool. 
 
 Jew^el. I guess you are right, the question is what to do. 
 I'm just here as a music teacher, and of course, will come 
 only twice a week, but we must make some plan to bring 
 the misguided lady to her senses, and turn this benighted 
 home into a pleasant place once more. 
 
 Theresa. Vat she needs is von grosse shock. {Scream 
 heard outside.') 
 
 {Enter Bridget l., running.) 
 
 Bridget. Miss Duniont, for hivin's sake come quick — 
 it's Jinniveeve — she's burrnt up. 
 
 Jewel {to Theresa hastily as she exits l.). Ring up 
 Mrs. Morley at once on the telephone. 
 
 Theresa (near door l.). Vas? Vas? A'as ? Ach ! 
 on vat must 1 up-ring her? {Sees telephone.) IJe leelle 
 black box, dere ist in Reading von vat it looks like. I von- 
 der ! {Goes to it.) Ring eh? Veil, dot I vill do. 
 {Rings a lon^r time, puts mouth to wrong end at first. 
 Hears voice and jumps away. Returns.) Vy, it shpoke 
 somedings, you leetle imp. {Picks it up.) It shpeaks a 
 lot — ah, hello, you cousin-mit-law ! Vas? No — I ain't 
 so busy. No, it's cousin-mit-law. — Vy, it keeps righd on 
 talking chust the same as ven I talk. — Call off? Vat I call 
 off wis, vill I ? — You too busy ? — Veil I cannot helps dot, 
 ain't it? Everyting's burnin' oup. — Too busy — too busy 
 — veil I 'opes ve all bourns oup if she's too busy as dot, 
 {drops instrument) and everyting's all burning oup. 
 
 {Enter Jewel l.) 
 
 Jewel. \Vell, it's fortunate all the way through, the 
 child's all right but badly frightened. Some clothes hang- 
 ing too near the grate caught fire, and the plucky youngster 
 tried to put out the blaze. She's burned her hand slightly, 
 
A PATRON OF ART 1 5 
 
 but I'm a physician's daughter and fixed her up nicely — 
 
 and I have a beautiful idea Have you telephoned? 
 
 {^Groans on seeing instrument and fixes it.) 
 
 Theresa. Ja, but she chust said offer und offer vonce 
 more in a leetle queer voice dot she vas busy too much. 
 She von't listen, you vill tell her offer and offer und den 
 wride it und shtill she vill say, *' Busy, busy, busy." 
 
 Jewel {Jaii<^hs heartily). Well now you run and help 
 Bridget, she's in the secret and I think we may trust her. 
 
 I'heresa. a secret, vas? 
 
 Jewel. Why, don't you see We'll scare Mrs. Mor- 
 
 ley into her senses. Bridget is to partly burn the clothes 
 that Genevieve has been wearing. The child is too fright- 
 ened to notice ; then I have bandaged her hands in im- 
 mense unnecessary cloths, and now I'll send a well colored 
 message. 
 
 Theresa. All righd, I'll go und help. 
 
 i^Exit Theresa c.) 
 
 Jewel {at telephone, ringing np). Hello, Central, 
 Women's Ethical Club — yes — No. 324. {Pause.) This 
 appeal must go right to the mother's heart, whatever of that 
 
 she possesses Hello — yes — is Mrs. Morley there ? Tell 
 
 her to come at once. Hello ! (/// assumed voice.) Oh, 
 Mrs. Morley, do come at once — Genevieve badly burned. 
 
 We've managed to save the house and the clothes except 
 
 Good, she's gone already. {Puts away 'phone and rings 
 off.) She screamed at the first, too, that's a good sign. 
 Now it will hardly be a moment until she arrives, as the 
 clubhouse is such a near neighbor. {Sitting doiun.) If 
 the babe is just real white it will give an elegant effect and 
 I told Bridget to fix her up with some cornstarch. I know 
 it's a deception and I despise such, but the fire was true 
 enough — a Providence, I should say as long as no one is 
 seriously hurt. {Bell rings off r. Jewel jumps up.) 
 There's the carriage. Now for a long face. Oh, I wouldn't 
 do this for any one, but — but — ^just — {takes out locket, looks 
 at it and kisses it) but just you 
 
 Mrs. Morlev {rushing in.) Genevieve, my child — my 
 babe— oh. Miss Dumont, tell me. {Throws arms around 
 her and sobs hysterically.) 
 
 Jewel. Just sit right down, Mrs. Morley, and I'll in- 
 quire if you can see her yet. 
 
l6 A PATRON OF ART 
 
 Mrs. Morley. See her ! My own child ! — What do 
 you mean — is she dead ? 
 
 Jewel. Patience, be cahii — she's not dead — but of 
 course as you have never — well — seen anything of her, so 
 to speak, she naturally would rather not have you with her 
 at this trying time. 
 
 Mrs. Morley {shaking Jewel by the shoulders). 
 How dare you ! My own child, my Genevieve — let me go 
 to her at once. 
 
 Jewel {obstructing her way). I must beg of you, Mrs. 
 Morley, do not excite the child. 
 
 Mrs. Morley. But I am her mother 
 
 Jewel. Yes, but yet you must realize that having been 
 absent so much really makes a difference, and we find that 
 she seems to fancy Bridget 
 
 Mrs. Morley {screams). Bridget — she loves Bridget 
 
 rather than Oh, never, never {Si?iks into a chair 
 
 and sobs hysterically.) 
 
 Jewel {goes back of her chair, lays ha?id affectionately 
 on her shoulder). Just be a little quiet, Mrs. Morley, and 
 I'll see how things are coming along. {Aside.) Pretty 
 well, I should judge. 
 
 {Exit Jewel l.) 
 
 Mrs. Morley. Ah, woe is me — and this is my reward 
 for lending all my strength for the cause of woman's ad- 
 vancement ! Have I been blind to the best in life ? It 
 seems — yes, verily — as if some scales had dropped from 
 my eyes — I see clearly. It is all so different. Before me 
 stand my home, my child — my duty. {Pointing to photo- 
 graph on table.) Alas, that picture adds to my remorse, 
 oh, Alfred — why were you taken from ,me that I should 
 make this miserable mistake — see, the picture is smiling — 
 it has always seemed so stern and forbidding, but yes, — 
 yes, it smiles again. Ah, Alfred (kneeling before table and 
 photograph) at last you have forgiven me. 
 
 {Enter l. Theresa ««^ Genevieve affectionately; Genevieve 
 is bandaged and ivears burned apparel. Bridget and 
 Jewel folloiv. Mrs. Morley quickly rises.) 
 
 Genevieve (turns to Theresa). There's mamma, she'll 
 be so cross. 
 
A PATRON OF ART 1 7 
 
 Mrs. Morley. Ye angels, help me, what have I done ? 
 Genevieve darling {holding out hands') come to me. 
 
 Genevieve. But mamma {comes forivayd) I'm burned, 
 and perhaps you're too busy. 
 
 Mrs. Morley (^on knees putting arms around Ge^'eniewe). 
 Never — Genevieve — never again. 
 
 Theresa {pointing at them with thumb). Veil — perhabs 
 not — it listens like it. {Belt rings. ) But vy does she say 
 to me "• Busy — busy — busy — call offer again? " 
 
 Ernestine {follozved by maid enters hastily r. as Mrs. 
 Morley rises). What does this mean? They were just 
 about to make you president, and out you rushed. Now 
 there's some catch and they'll have to wait. 
 
 Mrs. Morley. I fear they will have to wait a long time, 
 won't they, Genevieve? 
 
 Ernestine. Besides, you didn't vote me in 
 
 Mrs. Morley. Well, I'll do what I can to influence 
 them, but 
 
 Ernestine. It's just for your own sake I wdsh to appear 
 well, as I am engaged to marry your son. (Jewel starts 
 noticeably.) 
 
 Mrs. Morley. Engaged to marry my son ! 
 
 Jewel. I beg your pardon, Mrs. Morley, I am engaged 
 to marry your son. (Aside.) Oh, what have I said? 
 (Genera/ surprise. Mrs. Morley looks from one to the 
 other in confusion.) 
 
 Mrs. Morley (to Jewel). You engaged to marry 
 
 Erne.^tine (laughing ironically). That's a likely story, 
 you a poor music teacher without means or position, while I 
 — I am handsome — wealthy — I live below Market street, 
 and — my name is Riltenhouse. 
 
 Jewel. You should write a personal biography, it would 
 
 be such rose colored literature. Besides I do not fear you 
 
 for he is as true to me, and I am as true to Tom 
 
 Mrs. Morley. ) ^. ^ 
 T- > 1 om ? 
 
 Ernestine. | 
 
 Jewel. Yes, I am engaged to marry Mrs. Morley's only 
 son Tom. 
 
 Ernestine. And I am to marry her only son Reginald. 
 (Business.) 
 
 Mrs. Morley. Be at rest, children, I understand. 
 Ernestine has never heard me mention Tom's name, because 
 he left me in anger — yes, in just anger — two years ago. He 
 
1 8 A PATRON OF ART 
 
 was my only son, but a year later, and Tom could not have 
 known this as I have neither seen nor heard of him until to- 
 day — a year later 1 adopted my sister's orphaned boy 
 Reginald. 
 
 Ernesi'INE. Then I was correct 
 
 Jewel. I beg pardon, I think 
 
 Theresa. Ach, es macht nichts aus — it has come all 
 righd oud. 
 
 Bridget. Yis, as Mr. Royal used to say 
 
 Mrs. Morley. Mr. Royal ? 
 
 Bridget. Yis, Mr. Tiddy Royal. Oi told you I 
 wurruked in the Royal family for t'ree years. 
 
 Mrs. Morley {to Jewel). And you know where Tom 
 is ? My poor dear Tom 
 
 Jewel. Yes, he's been in the West, but I — I think he'll 
 soon be outside. He said he would whistle. 
 
 Ernestine. Will you return to the club in my carriage, 
 Mrs. Morley? (Jewel and Marie talking toget/ier.) 
 
 Mrs. Morley. No, Ernestine, 1 find that club life is not 
 the only thing worth living for. 
 
 Ernestine. And you do not wish me to marry 
 Reginald ? 
 
 Mrs. Morley. On the contrary I think it is quite the 
 thing. You are most evenly matched. I wish you great 
 joy and hope you will be happy. 
 
 Ernestine {(iside). Such insolence ! Marie, my gloves 
 at once. 
 
 Marie. Excuse me. Miss 
 
 Ernestine. Not a word 
 
 Marie. I'm just givin' notice. Tve got another place. 
 (^Smites at Jewel.) 
 
 Ernestine. Such ingratitude ! Well she had a wretched 
 temper, and (^to Jewel) mademoiselle, I will settle with you 
 later for this. ( IVith deep courtesy. ) Good-afternoon, ladies ! 
 
 {All how, exit Ernestine, r.) 
 
 Mrs. Morley {taking Jewel's hafids). And Tom sent 
 you? 
 
 Jewel. Yes, are you very angry ? He sent me to — 
 to 
 
 Mrs. Morley. To bring me to my senses. What is 
 your name? 
 
 Genevieve. Her name is Jewel, mamma. 
 
A PATRON OF ART 
 
 19 
 
 Bridget. And faith thin, thot's phwat she is. 
 
 Theresa. Dos ist righd. 
 
 Mrs. Morlev. Yes, that is true, the brightest Jewel ever 
 in my possession. 
 
 Jewel. Ah, but without my accomphces I could have 
 (lone nothing. (Bridget and Theresa bow tharacter- 
 isticaUy.') 
 
 Mrs. Morley. In that event my friends, I thank you 
 too. A pleasant path lies undeserved before me. 1 wish no 
 longer to sail under false colors, such as that foolish tide of 
 " Patron of Arts and Sciences." What knew 1 of them ? — 
 Nor shall I be known as a member of forty-two clubs. One 
 will be enough for me, and that will be the Home Club. 
 Meetings held here daily. I invite you all and shall try to 
 repay my debt, and I thank you all again. 
 
 Genevieve {Jwhlmg out bandaged hands). And I — I 
 thank you too. 
 
 Curtain 
 
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 300 pages 
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