Well, here he was; hot and uncomfortable, in a chair much too small for him, with a row of blinding footlights glaring in his eyes.  Suddenly the door at his right elbow opened.  Their seats were at one end of the front row; he had thought they would be less conspicuous there than in the centre, and he had not foreseen that the singer would walk over him every time she came upon the stage.  Her velvet train brushed against his trousers as she passed him.  The applause which greeted her was neither overwhelming nor prolonged.  Her conservative audience did not know exactly how to accept her toilette.  They were accustomed to dignified concert gowns, like those which Pittsburgh matrons (in those days!) wore at their daughters’ coming-out teas.

Kitty’s gown that evening was really quite outrageous—­the repartee of a conscienceless Parisian designer who took her hint that she wished something that would be entirely novel in the States.  Today, after we have all of us, even in the uttermost provinces, been educated by Baskt and the various Ballets Russes, we would accept such a gown without distrust; but then it was a little disconcerting, even to the well-disposed.  It was constructed of a yard or two of green velvet—­a reviling, shrieking green which would have made a fright of any woman who had not inextinguishable beauty—­and it was made without armholes, a device to which we were then so unaccustomed that it was nothing less than alarming.  The velvet skirt split back from a transparent gold-lace petticoat, gold stockings, gold slippers.  The narrow train was, apparently, looped to both ankles, and it kept curling about her feet like a serpent’s tail, turning up its gold lining as if it were squirming over on its back.  It was not, we felt, a costume in which to sing Mozart and Handel and Beethoven.

Kitty sensed the chill in the air, and it amused her.  She liked to be thought a brilliant artist by other artists, but by the world at large she liked to be thought a daring creature.  She had every reason to believe, from experience and from example, that to shock the great crowd was the surest way to get its money and to make her name a household word.  Nobody ever became a household word of being an artist, surely; and you were not a thoroughly paying proposition until your name meant something on the sidewalk and in the barber-shop.  Kitty studied her audience with an appraising eye.  She liked the stimulus of this disapprobation.  As she faced this hard-shelled public she felt keen and interested; she knew that she would give such a recital as cannot often be heard for money.  She nodded gaily to the young man at the piano, fell into an attitude of seriousness, and began the group of Beethoven and Mozart songs.

Though McKann would not have admitted it, there were really a great many people in the concert-hall who knew what the prodigal daughter of their country was singing, and how well she was doing it.  They thawed gradually under the beauty of her voice and the subtlety of her interpretation.  She had sung seldom in concert then, and they had supposed her very dependent upon the accessories of the opera.  Clean singing, finished artistry, were not what they expected from her.  They began to feel, even, the wayward charm of her personality.