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BASICS Fundamentals Of Presentation Detail Drawing Bert Bielefeld
This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
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26.8 Critical Mechanisms of Failure ......................................................... 858
26.9 Realising the Force-Transmission Function Within the Element—Structural Principle of the Component ............ 861
26.9.1 Solid-Leaf Element .................................................................................... 867
26.9.2 Element Composed of Abutting Bars Oriented Along y/z 875
26.9.3 Element Composed of Blocks ............................................................... 886
26.9.4 Element Composed of Ribs Oriented One-Way ............................. 907
26.9.5 Element Composed of Ribs Oriented Two- or Multiple-Way ............................................................................................... 947
26.9.6 Element from a Clad Perimetral Frame ............................................. 961
1.1.2 Defnition of the Term “Constructional Design” – 6
1.2 The Process of Constructional Design – 7
1.2.1 Planning, Conceptual, and Constructional Design – 9
1.2.2 Phases of the Constructional-Design Process – 9
1.2.3 Methodology of Constructional Design – 11
1.3 Conceptual and Constructional Design – 13
1.3.1 Infuence of Constructional Upon Conceptual Design – 13
1.3.2 Infuence of Conceptual Upon Constructional Design – 18
1.3.3 Harmonisation of Conceptual and Constructional Design – 19
1.3.4 Present-Day Circumstances – 19
1.4 Principles of Constructional Design – 20
1.4.1 Fundamentals – 20
1.4.2 Historical and Modern Principles of Constructional Design – 20
1.4.3 The Path from Principle to Working Detail and Vice Versa – 21
Bibliography – 22
1.1 The Concept of Constructional Design
1.1.1 Manufacturing Buildings
Shelters suitable for human dwelling used to be only very seldom readily available to humans in the natural environment but needed to be constructed following a more or less complex technical manufacturing process. For this purpose, suitable building materials had to be obtained and processed, and parts made from them had to be assembled to generate a complete structure. Contemporary buildings are always technically manufactured without exception—especially due to the high standards that are associated today with the regular usage of a building.
A characteristic feature which distinguishes the vast majority of building constructions from other man-made technical objects—like utensils, computers, aircraft, or automobiles—is its static character, which ties it to a specifc location during its complete service life. While ordinary buildings used to be mostly constructed from locally available materials applying manual manufacture and construction methods, the industrialisation of building construction brought about a preprocessing of some building materials as well as a prefabrication of (at least) some building components. Both processes, for the frst time in history, took place not in the close vicinity of the building site, but somewhere else, namely at the location of the stationary manufacture plant. Hence, the pre-processed materials or pre-assembled components needed to be transported to the building site in order for the buildingto be erected eventually. Therefore, one of the special features of the construction of contemporary buildings is the clear distinction between the shop manufacturing, the transportation to the building site, and the on-site works. For this reason, in the technical terminology, the term production of buildings usually subsumes the following three phases:
5 manufacture in the factory
5 transportation from the factory to the building site
5 erection on the building site
Therefore, the term manufacturing, which is used in other technology sectors for all production processes, should be applied in the construction industry only to the processes taking place in the factory. 1
1 For this reason, the classifcation of manufacturing processes according to DIN 8580 (. Fig. 1.1) must be adapted to the conditions in the building industry. This means frst of all that we must speak of manufacturing processes in the true sense of the word and that these individual processes must be clearly distinguished with regard to the place where they take place: in the factory or on the construction site. (Vol. 3, Chap. 43, Sect. 43.4 Connections for Primary Load-Bearing Structures – Some Special Features). In in-situ concrete construction, for example, the primary
1.1.2 Defnition of the Term “Constructional Design”
The classifcation of the operations involved in the manufacturing process makes evident that the latter is always connected with a:
5 Transformation of selected, suitable materials: effected by their shaping, if need be, involving a change of their material properties, as well as in most cases by a:
5 Joining of individual components made from these materials to make up a complete building
The resulting overall structure is called the construction of a building:
» construction: from lat. construere “pile, build, heap together”
It must be noted that, in the building trade, this term has multiple meanings. It means not only the actual process of erection, the construction process, but also the following:
5 The fnal assembled product, the erected structure; in order to give expression to the peculiarities of constructions in the building industry, the term building construction is also used
5 The style or method used in assembling the fnal product
5 The building activity considered as an industry
The term constructional design denotes the following:
5 The planning and preparation of:
5 The shaping of individual components from a particular selected material, that is, the defnition of their geometry, as well as, if need be
5 The technical infuencing of their material properties
5 The mutual arrangement of individual components within the general layout of the building structure, that is, the defnition of the whole building’s geometry
5 The type of juncture between individual components
In order to understand the special features of this planning process, in which the characteristics of the building as a technical structure are defnitively defned in all their details, the process of construction design (. Fig. 1.1) will be examined in its most important stages in more detail below.
forming (main group 1), i.e. the pouring of the concrete, takes place at the construction site. With most assembly methods, part of the joining (main group 4) takes place in the factory (factory joints), the rest on the construction site (erection joints).
Merriam Webster Dictionary DIN 8580
. Fig. 1.1 Classifcation of the manufacturing processes according to DIN 8580. The procedure 4 “Joining” is the subject of Chap. XII Joining (Chapters 43 to 50) in Volume 3 of this book. In the construction industry, some of these operations usually take place in the factory and some on the construction site (Image rights: Author)
1.2 The Process of Constructional Design
The process of constructional design is embedded within the general design process of the building. According to the terminology of the German offcial fee regulations (HOAI), which will be used as an example here, it constitutes a work phase which basically coincides with the phase 5 Detailed Design. Fee scales of other countries do not differ signifcantly in this respect. The diagram on . Fig. 1.2 depicts the planning process according to the HOAI. By the size of the felds and the percental fgures, it shows the respective shares of the phases from the total performance. At the same time, it shows graphically that considerations about constructional issues exert an infuence upon other working phases. This can either happen by anticipating certain constructional decisions during early design phases—this takes place, so to say, within the main design fow—or through iteration steps, that is through loops which lead back to an earlier design stage (having gained more knowledge, however). This extraordinarily important issue will be addressed again later.
Honorarordnung für Architekten und Ingenieure (HOAI, German fee regulations for architects and engineers)
In 7 Sect. 1.2.3 Methodology of Constructional Design
Basic research
2 Preliminary design (project and planning preparation) 3 Overall design (system and integration planning)
Approval planning
Detailed design
6 Preparation of the contract award It eration
7 Par ticipation in the contract award process
8 Object supervision (construction supervision)
9 Object support and documentation
. Fig. 1.2 Work phases according to HOAI §15. Representation of the planning process in building planning with the corresponding percentage share of the overall task list. The core phase and the area of infuence of construction design are represented in graded shades of grey (Image rights: Author)
1.2.1 Planning, Conceptual, and Constructional Design
Before analysing more closely the process of constructional design, it is advisable to at least tentatively draw a distinction between the concepts of planning, conceptual, and constructional design. The building-related terminology is not totally unambiguous on this matter. From the general language use, the following conclusions can be drawn:
5 Planning usually means the general process of mental formulation and is not necessarily confned to defning a building structure, not even a physical object. One also plans a weekend trip. Planning engulfs all areas of human life in which certain processes are liable to be governed by systematic anticipation.
5 Conceptual design is, in contrast, more confned to the univocal and comprehensive defnition of a general building pattern in the usual parlance of the building trade. Conceptual design, in this context, means defning the general lines and the general disposition of the building following a specifc overall concept, i.e. a defned and distinguishable idea or intention which establishes a recognisable, meaningful connection between its parts or partial features. Often an artistic connotation is implied by this term which sometimes in architecture is considered the distinguishing mark of conceptual design against planning.
5 Constructional design expresses, as already noted, the comprehensive and detailed technical and geometrical defnition of a building structure in regard to material, connections, and production.
Simplifying, planning may be considered the general term which comprehends both conceptual and constructional design The latter terms in turn denote two planning phases with specifc nature, which however are closely interrelated.
1.2.2 Phases of the Constructional-Design Process
Similarly to the HOAI, which subdivides the whole planning process into different phases, the process of constructional design may also be partitioned into several stages. It should not be forgotten, however, that these subdivisions are mere rather coarse-grained models which are intended to render a contribution to a deeper structuring, systematising, and awareness of the procedures. They are supposed to be an expedient for more streamlined and effcient working but should never hamper the free fow of individual focused refection and creative thinking, which are (now as ever) the basis of any successful planning, and hence constructional design, process.
Defnition according to Merriam Webster’s Dictionary of Synonyms, 1984
Conceptual design: “Designing involves devising, planning, controlling, and monitoring the design process” (VDI 2223, Glossary)
Constructional design: “The totality of all activities with which the information necessary for producing and using a product is elaborated, starting with a task, and ending with the defnition of the product documentation. These activities include the pre-material composition of the individual functions and parts of a product, the assemblage to a whole, and the specifcation of all the details” (VDI 2221, 6., Terms)
Principle of effect: “Principle according to which an effect occurs” (VDI 2223, Glossary)
Following constructional-design-related scientifc papers,2 four main phases of the constructional design process can be distinguished as follows:
5 Clarifcation of the task: The task mainly consists in defning the general framework and the requirements for transforming the already existing general design pre-sets into a detailed material structure or derive requirements or tasks that the design has to fulfl. These serve as guidelines for their implementation in detailed design, which takes place step by step in the following phases:
5 Conception: This phase constitutes an important abstraction process within the constructional design, by which:
– The main problems which need to be solved are formulated.
– Suitable physical and mechanical operational principles, which can also be termed effectual principles, or mechanisms of action, are sought for which might solve the problems at stake. Operational principles denote the physical effect as well as the main physical and material attributes which seem suitable for fulflling a particular function.
Principle: “Initiation, which determines everything emanating from it, the origin, the maxim (VDI 2221:1993–05, 6. Terms) “General strategy or general principle that shapes action in the development process”. (VDI 2221:2019–11, 2. Terms)
Cf. 7 Sect. 1.4. Principles of Constructional Design
Cf. 7 Sect. 1.2.1 Planning, Conceptual and Constructional Design
“A permanent and successful constructional solution originates in the choice of the most practical principle and not in the overemphasis of constructional subtleties”3
3 Ibid., p. 88.
– A solution principle or concept is selected which, based on the selected operational principle, implements a further step towards the materialisation of the construction.
– Solution variants are defned which formulate the concrete technical realisation of the chosen solution principle (as mentioned).
The working phase of conception is an extraordinarily important methodological step since it makes sure already in the preliminary stages that the step from the problem and the requirements to the concrete constructional solution is not taken too quickly, so to say following a refex of habit, recurring to conventional expedients, without exploring the whole gamut of conceivable solution principles. The important abstraction process connected with conception— besides examining different principles of action, which are, however, not always available—centres upon the analysis of alternative solution principles which, in turn, open up a broad variety of constructional solutions. The feld of solutions thus made available sharpens the designer’s perception and considerably broadens his chances of success. It is especially to this particular, central conceptual working phase that this book intends to make a contribution to, by in each case showing and discussing alternative abstract solution principles before proceeding to the defnitive execution.
5 Design of the construction: Considering all mentioned caveats regarding the usual parlance, this term can be applied to the defnitive fxing of the construction’s shape with its fundamental technical and geometrical features. This equates to determining the fnal constructional solution.
2 Pahl, (1997) Konstruktionslehre, p. 85.
5 Development: During this fnal phase, the defnitive and detailed parameters regarding geometry, material, surface fnishing, connection, manufacturing, erection, etc. are elaborated and mandatorily prescribed.
1.2.3 Methodology of Constructional Design
The diagram on . Fig. 1.3 schematically represents the process of constructional design as a sequence of single working steps (right) as well as in the form of a fow chart (left) depicting a sequence of working and decision steps. At every shunt, it must be decided whether:
5 Work should proceed on the basis of already elaborated information.
5 It should instead return to a previous work phase through an iteration step. This only seemingly appears to be a waste of time since, although apparently a regression of the planning process is happening, the designer however enters it again on a higher information level and consequently has gained a more consistent basis for further decisions than he had before. Conversely, it cannot be denied that any iteration loop implies consuming resources and should be avoided whenever possible.
This apparently jumpy iterative process, which to nonprofessionals sometimes appears irritating, is characteristic of any kind of planning work and needs to be handled by the designer in a skilled manner. The diagram on . Fig. 1.4 shows a simplifed version of a typical iteration loop with the corresponding questions and decision steps. In practical action, the question whether to pursue a particular idea or to discard it instead and to begin anew poses itself continually.
There are multiple supporting, systematic methods available which cannot be comprehensively discussed in this context. It should be merely underlined that there is a general beneft from a systematic course of action by which:
5 First, variance is generated, thus initially extending the range of viable solutions as much as possible (brainstorming, morphologies, catalogues).
5 Subsequently, this variance is reduced by meditated and well-founded methods of evaluation and selection and narrowed down to a single optimised solution (assessment method).
Below, the crucial importance of identifying and handling abstract constructional solution principles will be addressed again in a more detailed manner.
Iteration: “A return in the development process to the same problem level” (VDI 2223, Glossary)
conditions from the building design
clarifying the task
elaboration of the list of requirements
defining the list of requirements approval for conception
developing the basic solution
identifying the main problems determining the functions search for effect principles and effect structures concretising to basic solution variants evaluating according to technical and economic criteria
determining the basic solution approval for design of the construction
developing the building structure
rough outlining: give shape, select material, calculate selecting suitable rough designs fine tuning of the preliminary design concretising to basic solution variants evaluating according to technical and economic criteria
defining the provisional design approval for final design
final design of the building structure
debugging checking for errors manufacturing and assembly instructions
defining the final design approval for elaboration
development of the execution documents
elaborating the production, transport and assembly documents checking the execution documents
definition of the manufacturing documentation approval for production
finished construction
. Fig. 1.3 Schematic representation of the construction-design process as fowchart with indication of the main work phases (Pahl, (1997) Konstruktionslehre, p. 85). The phase of developing the basic solution is often skipped during constructional design. This book intends to make a contribution to this phase in particular (Image rights: Author)
. Fig. 1.4 Schematic representation of an iteration step in the planning or construction-design process as fow chart (Pahl, (1997) Konstruktionslehre, p. 85) (Image rights: Author)
1.3 Conceptual and Constructional Design
From the present considerations so far, it can be inferred that the general building design—it will be henceforth referred to simply as the design scheme—can actually be distinguished from the constructional design what its subject matter and its occurrence in time is concerned, but that it is closely intertwined with it, nonetheless. Due to their great relevance, these interdependencies will undergo a closer inspection hereafter.
1.3.1 Infuence of Constructional Upon Conceptual Design
Constructional solutions available within a specifc context, which always are dependent on:
5 Material
5 Technology
5 Cost need to be anticipated in early design stages in order for the scheme to be implemented during the execution phase without impediments, according to the chosen conception, in an aesthetically satisfying manner, and within the given time and cost frame.
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The Project Gutenberg eBook of In the swim
This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: In the swim
A story of currents and under-currents in gayest New York
Author: Richard Savage
Release date: September 29, 2023 [eBook #71751]
Language: English
Original publication: Chicago: Rand, McNally & Company, 1898
Credits: Sonya Schermann, David Wilson and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
IN THE SWIM.
I N T H E S W I M
A Story of Currents and Under-Currents in Gayest New York.
By
Richard Henry Savage
Chicago and New York: Rand, McNally & Company, Publishers.
Copyright, , by Richard Henry Savage. All Rights Reserved.
CONTENTS.
BOOK I. A RISING STAR. C . P
I—“Young Lochinvar has Come out of the West,” –
II—The Drift of a Day in New York City, –
III—A Frank Disclosure, –
IV—“Wyman and Vreeland” Swing the Street, –
V—Toward the Zenith, –
BOOK II. WITH THE CURRENT.
VI—In the “Elmleaf” Bachelor Apartments, –
VII—“Plunger” Vreeland’s Gay Life, “Under the Rose,” –
VIII—Miss Romaine Garland, Stenographer, –
IX—Senator Alynton’s Colleague, –
X—An Interview at Lakemere. Some Ingenious Mechanism. “Whose Picture is That?” –
BOOK III. ON A LEE SHORE.
XI—Miss Marble’s Waterloo! A Lost Lamb! Her Vacant Chair. Senator Garston’s Disclosure. Sara Conyers’ Mission. Miss Garland’s Dishonorable Discharge. A Defiance to the Death. “Robbed!” –
XII—Mine and Countermine, –
XIII—A Wedding in High Life, –
XIV—For the Child’s Sake! –
XV—In the Dark Waters, –
I N T H E S W I M.
BOOK I A RISING STAR.
CHAPTER I.
“YOUNG LOCHINVAR HAS COME OUT OF THE WEST.”
There was an expression of sullen discontent upon the handsome features of Mr Harold Vreeland (gentleman unattached), as the inbound Hudson River train dashed along under the castled cliffs of Rhinebeck.
The afternoon was fair—the river of all rivers glittered gaily in the sun, and a dreamy peace rested on field and stream. But, the peace of this June afternoon of ’95 entered not into the young wayfarer’s soul.
The five years which the traveler from nowhere in particular had thrown away in the far wilds of the sporadic West had not yet robbed his chiseled features of the good looks which he had borne away from old Nassau.
And, though his glittering blue eye had been trained to a habitual impassiveness by much frontier poker, he had always abjured that Rocky Mountain whisky which “biteth like an adder.”
As he restlessly sought the smoking-car, after a vain struggle with the all too-evident immorality of a saucy French novel, several quickly thrilled spinsters followed his retreating form with warm glances of furtive admiration and half-suppressed sighs.
Vreeland’s stalwart figure was clearly reminiscent of well-played football and long straining at the oar. His well-set head was bravely
carried, his eye was searching and even audaciously daring in its social explorations.
At twenty-seven he had not lost the fascination of his soft and perfectly modulated voice nor the winning insinuation of his too frequent smile. The chin was far too softly molded for an ascetic, and an expression of lurking insincerity flickered in the pleasure-loving curves of his handsome mouth.
But, shapely and glowing with manly vigor, he was a very “proper man-at-arms” in the battle of life, his sweeping cavalry mustache lending an air of decision to his sun-burned features.
Though he was perfectly dressed up to the memories of his neverforgotten “varsity” grade, the “wanderjahre” had given to him a little of that easy swing which is the gift of wandering on boundless prairies, long nights spent al fresco under the glittering dome of stars, and a close commune with the sighing pines of the West.
The shade of bitterness deepened upon his moody face as he noted a three-masted steam yacht swinging along up the river, with the elastic quivering throb of her quadruple compounded engines. This queenly vessel bore the private signal of one American citizen whose personal finances beggar the resources of many modern kings.
“Those are the cold-hearted fellows who rule America now with a rod of iron—the new money kings,” he growled. “Royal by the clink of the dollar, sovereign by the magic wand of monopoly, impregnable with the adamantine armor of trusts!”
And then, a lively hatred of the social grandees luxuriously grouped aft on that splendid yacht crept into his embittered soul.
He could see the Venetian awning which covered the clustered fairfaced patrician women from the fierce sun, which rudely burns by day.
And he knew, too, by distant rumors of that superb luxury in which the American women of the creed of the Golden Calf passed their
happy days in a splendid and serene indolence, only lit up now and then with gleams of the passion play of high life.
“It’s no use to fight those fellows,” mused Vreeland, as he carefully trimmed a cigar. “They have come to stay, and I must try and fall into the train of some one of them.”
He looked back at all those unprofitable years spent beyond the rugged Rockies. There was a sense of shame and resentment as he recalled the shabby career of his talented father.
“Thank God, I am now alone in the world, ‘with no one nigh to hender!’” he bitterly reflected, unconsciously quoting Lowell’s “Zekle and Huldy.”
The train had rushed on past Poughkeepsie, and the parade music from West Point floated sweetly across the cool river as the train halted at Garrison’s for a few moments, before he had morosely reviewed all the dismal events which brought him a lonely stranger back to New York.
Erastus Vreeland, a lawyer of no mean accomplishment, had destined his only son for the bar.
The elder Vreeland was a human spider, who had finally gravitated downward into the exercise of only the meaner craft of his muchabused profession.
For long years, in his little office on William Street he had legally carried on the intrigues of a daring band of clients who rightly should have ornamented the Academy of Belles-Lettres of New York at Sing Sing.
During the life of his hoodwinked wife, Vreeland père led a double existence of more or less moral turpitude, and, at last, a shameless and successful coup of rascality aroused the ire of a great financial company.
It was his “notice to quit,” and after the death of his wife, Erastus Vreeland “swung round the distant circle,” often followed by the
déclassé lawyer
Omaha, Leadville, Salt Lake, Los Angeles, and other Western cities finally knew his fox-like cunning and gradually weakening grip.
A political affray, the result of a heated election in Montana, had been the occasion of the elder Vreeland’s sudden taking off.
And so, the man who had never learned the homely adage that “corruption wins not more than honesty,” slept far away from his fathers on the rocky hillsides of Helena, in wild Montana. It was a miserable summation of failures.
The hegira of the father had left the son stranded in life at the start upon his finishing the four years at Princeton which had made him an expert in all the manly arts save any definite plan of moneygetting.
A still self-deceiving man, Erastus Vreeland had hopefully invited his son to share the suggested exile, and thus, the plan of the law course for the junior was perforce abandoned. It had not been long till father and son drifted coldly apart.
The mean, shabby moral nature of the demoralized elder could not long impose upon the quick-witted youth. The slights of the bench, the slurs of the bar, the wasp-like thrusts of a bold frontier press, all proved that the “trail of the serpent” followed on after the talented weakling whose professional honor was never proof against gold or gain secured from either side.
And so, with only a hypocritical pretense of a certain lingering friendly feeling, the two men had finally parted, dividing a few hundred dollars which were the remains of a retainer in a case, which deftly went wrong on its trial, sold out, to the benefit of lawyer Vreeland’s adversary. Then came the bloody finale—and, and—exit Vreeland pater!
Harold Vreeland sighed in disgust as he recalled the five lost years of his golden youthful promise.
“It’s all rot,” he muttered, “this idea that the loafer life of the far West gives either scope, strength, or courage to any man. It is all mere barbarism, and only a windy discounting of a future which never comes. A long, bootless struggle with the meaner conditions of life.”
He recalled his varied experiences as notary public, deputy county clerk, cashier of a shoddy bank—a concern which “folded its Arabian tents” in six months.
Real estate dealer he had been in several aspiring “boom towns,” and also, secretary of many frontier “wind” corporations, whose beautifully engraved stock certificates were now either carried around in the pocketbooks of dupes or else stuck up in Western saloons, to the huge edification of the ungodly
This strange wandering life had made him a fox in cunning, though not as yet a ravening wolf, for there was little to prey upon in those dreary distant Occidental preserves. But, his fangs were well sharpened for the fray.
He realized, as the lights of Haverstraw gleamed out “beyond the swelling tide,” that he was as yet without any definite plan of operations.
A singular incident, illustrative of the roughly good-humored social code of the wild West had caused him to seek the city of Manhattan.
The political clique which had coolly plotted the murder of his crafty father, with a last generous twinge of conscience, had sent all the private papers of the defunct lawyer over to his son, who was listlessly engaged at the time in endeavoring, on a net cash capital of a hundred and fifty dollars, to float a ten million dollar corporation, in order to utilize certain waste energy of those foaming falls of the Spokane River, which have so long caused both the salmon and the Indians a great deal of unnecessary trouble.
And then, young Vreeland wearily explored those ashes of life—the “papers in the case” of the defunct.
The unwelcome discovery of many evidences of his father’s shame and the revealing of all that secret life which had sent his patient mother to the shadowy bourne of heartbroken wives, was somewhat mitigated by the discovery of a paid-up policy of ten thousand dollars in the great “Acqueduct Life Insurance of New York City.”
There was, as usual, some strings and filaments hanging out loosely knotted up, and it had been a labor of months, involving a correspondence of some acerbity, for him to obtain letters of administration, close up his father’s “estate,” and depart to Gotham to receive a check for seven thousand dollars in full settlement of the claim.
On the road over from Spokane, Mr Harold Vreeland had carefully counted all his ships. He had even gone over all his own abortive attempts at opening any useful career, and so, on this summer evening, he gloomily felt how poorly prepared he was to fight the battle of life against the keen competition and increasing pressure of his peers in New York City.
“If I had only my father’s profession, I would have a chance to get in among these fellows, and I would soon have my share of the gate money,” he growled.
“But to take a place in the line of mere drudges, to sink down into the death in life of a hall room and a cheap boarding-house. Once planted there, I am there forever And I have not a friend in the whole world!”
His mental harvest had only been one of husks, and he keenly felt the absence of any definite calling pour accrocher.
Suddenly his eye caught the gleam of a sunset upon a dozen drifting, glittering white sails on the river.
They all seemed to float on serenely, borne along upon the broad tide, with no visible man’s hand to guide.
“I will drift a while,” he murmured. “I have a few thousand dollars. Something will surely turn up. If it does not,” he resolutely said,
“then, I will turn it up myself.”
“There are women here, too—women with hearts of flame, and who are to be won. I was a fool ever to go out to the frontier. Perhaps—”
And his mind reverted to a lucky college chum who had married a woman nearly two generations older than himself, but a wellpreserved Madame “Midas.”
“By Jove! anything is better than this beastly poverty,” he mused. “Even that.”
“This is no era for poor men. Poverty is the only crime nowadays.”
His cynicism was broken off by the approach of two men, who rose to rejoin friends in the train as it dashed along toward the Bronx River.
As they came up the smoking-car, Vreeland easily recognized Fred Hathorn, the stroke of the college crew in which he had once won hard-fought honors for the orange.
There was no mistaking the easy luxury which exhaled from Mr. Fred Hathorn of the great firm of Hathorn and Potter, bankers and brokers of dingy Wall Street, a man who had already arrived!
The first crucial glance of rapid inspection was not lost on Vreeland, as Hathorn, in an easy way cried: “Hello, Hod Vreeland! What brings you over here?”
With a perfunctory politeness, Mr. James Potter halted and calmly acknowledged Hathorn’s listless introduction.
The little blonde man-about-town, however, gazed longingly ahead at the car where certain fair dames now awaited their escorts.
Jimmy Potter was born to “no end of easy money,” and so his dashing senior partner’s genius for finance was strongly buttressed by the whirlwind of cash which clustered around Jimmy Potter’s lucky head.
All sorts of financial bees seemed to swarm around Potter and quietly settle in his hive.
“What’s the use of making a row?” he often remarked. “Sit still, and what you want in life will come to you.” Mr. James Potter of New York was an Epicurean disciple.
The blood mounted to Vreeland’s forehead as he noted all the deprecating courtesy of Hathorn’s welcome.
“Damn him! I’ll give him a bit of a bluff,” he quickly decided, under the inspiration of some bold, familiar spirit.
There was an air of quiet comfort in the careless response of Vreeland.
“I have just fallen into a good bit of money by my father’s death, and so have come on here to enjoy myself. I may spend a couple of years abroad.”
Vreeland then blessed that daring, familiar spirit which so saucily suggested his “cheeky” retort, as the man who had been his chum and fellow of several Greek letter societies stopped short. “Wait for me at the station, old fellow. We are bothered yet with some ladies. They leave at the station. Then we will dine later at the club and talk over old times a bit. You’ll come, too, won’t you, Potter?”
Jimmy Potter carelessly nodded an assent from sheer laziness, and then the two members of the jeunesse dorée, passed on into the boudoir car.
There was a twinkle of triumph in Vreeland’s eye as he sank back in his seat.
“I got a dinner out of you at any rate, Mr. Snob,” he gleefully chuckled.
And, highly elated, he decided then and there, to vary his first plan of drifting with the tide, and to cautiously put his oar in a bit where it would help him on.
His step was as light as the tread of a panther when he leaped out of the car at Forty-second Street.
“I’ll have a stolen glance at their women,” he quickly resolved. “Perhaps they may give dinners, too.”
And just then, there seemed to be the twinkle of a little star of Hope lighting up that devious, unknown path which he was so soon to tread.
“I’ll let him give me a Club card,” he mused, as the wearied passengers hurried along to brave the din of importunate jehus.
He was wondering how much of a social show he could make at need with his slender fortune, when the two men slowly approached with three “shining ones” of the golden strata of womanly New York.
“These people are all in the swim,” he murmured. “I will find the way! I am as good as any of them.”
And as he raised his eyes, he met the glances of the imperial-looking woman who was Fred Hathorn’s companion.
The lady’s eyes rested for a moment upon the handsome stranger, and then fell with a peculiar abruptness.
“If that woman plays any star part in his life, I will try and take her away from him,” resolved Vreeland, whose whole soul was now thrilling with the beautiful woman’s sudden, startled admission of interest in a passing stranger The wine of life stirred in the young wanderer’s veins.
His audacious, familiar sprite suggested the profound bow which was Mr. Harold Vreeland’s first salutation upon the outskirts of the “Four Hundred.”
He had adroitly managed to convey the respectful homage of the salutation by his velvety eyes to the very person intended, for, while Jimmy Potter was placidly listening to the brilliant chatter of two very vivacious rosebuds, Mrs. Elaine Willoughby turned to Hathorn:
“Fred, who is your Western friend?” she asked, with an assumed carelessness.
It was by sheer good luck that Hathorn, who was watching the young millionairess whom he was soon to marry, answered with an unusual warmth:
“An old college chum—Vreeland of Princeton, and a rattling good fellow.”
Fred Hathorn eyed with a certain qualminess the easy aplomb of his Crœsus partner, as Jimmy Potter pressed closely to the side of Hathorn’s destined bride, Miss Moneybags.
That young lady was destined to play the rôle of Queen of Diamonds in the ambitious young banker’s life.
He had resolutely set up the motto, “Aut Cæsar, aut nullus,” and he was just a bit shy of the beloved James trifling with his dashing fiancée.
“All sorts of things happen in New York,” mused the agnostic Hathorn, as he handed the ladies into a waiting victoria and then turned to rejoin the man who more than ever had now decided to paddle a bit, as well as to drift on with the tide of fortune.
There was a glow of satisfaction burning in the Western adventurer’s heart as, half an hour later, he noted Hathorn dash off his potent signature behind his guest’s name on the visitor’s book of the Old York Club. It was the open sesame to the regions of the blest— young New York par excellence.
The trio adjourned to the billiard room, and, then and there, Vreeland for the first time tasted the famous club cocktail.
He was “living up to his blue china,” as he gravely bowed when Hathorn gave him a two-weeks’ card.
“I’ll have it renewed for you, old fellow,” lightly remarked the young banker.
