Angus Beaton

I

Beaton is mentioned as a young artist who influenced Alma's decision to come to New York, but has not yet visited them.

III

Beaton is working on a bust of Lindau and struggling with his artistic integrity and financial pressures. He receives a plea from his father and an offer from Fulkerson.

IV

Attends Mrs. Horn's tea, feels indignation at her patronizing attitude, and later visits the Leightons after a period of neglect.

V

Visits the Leightons and is disconcerted by Alma's cool, mocking demeanor; feels manipulated and leaves in gloomy resentment.

VI

Beaton is consulted as an art expert, critiquing the dummy cover and discussing illustration styles.

VII

Meets with March about the art editor position, appears aloof, and is later revealed to be modeling Lindau as Judas Iscariot.

VIII

Arrives with Fulkerson at the Dryfoos home, though his role in the chapter is minimal.

IX

Brought by Fulkerson to examine Christine's ring; behaves with solemn pride.

Chapter X

Feels sick of himself and his life, bitter about being bought up by Fulkerson, and conflicted about his feelings for Alma. He returns her design and agrees to a business-only relationship.

XIII

Praised for his art direction and design of the first issue, including the cover and rough-edge compromise.

XV

Discussed as a topic of conversation; Alma reveals she no longer trusts him.

III

Teaches Christine the banjo in the drawing-room, sings a French song, and behaves with nonchalant confidence, causing Dryfoos's unease.

IV

Visits the Leightons, discusses his feelings about the Dryfooses and his artistic interests.

V

Beaton attends the reception, discusses the Dryfooses with Margaret Vance, and reflects on his complicated feelings for Alma Leighton.

VI

Beaton is mentioned as the source of Margaret's knowledge about the Dryfooses, though he discouraged her from calling on them.

VII

Mentioned as having lent the banjo to the Dryfoos sisters and planning to choose a new one for Christine.

III

Rude to Colonel Woodburn; devotes evening to Alma Leighton, causing March to speculate on his feelings.

IV

Beaton's contrary nature and difficult personality are discussed; he is described as vain, offensive, fickle, sullen, and simple.

VI

Makes cynical remarks about labor violence and praises Baudelaire and Maupassant.

IX

Dines at Maroni's and discusses the crisis with Fulkerson; suggests using Colonel Woodburn as an intermediary.

I

Declares his love to Alma Leighton and is rejected; feels a mix of despair and relief, and reflects on his selfishness regarding money spent on luxuries instead of sending it to his father.

Chapter II

Beaton interacts with Margaret Vance and Mrs. Horn, feeling slighted by an implication about his honesty. He then visits the Dryfooses, where Mrs. Mandel challenges his motives.

III

Briefly mentioned as a potential collaborator for strike coverage.

IV

Referenced as the reason for Christine's anger; his ring is among the objects returned.

XIII

Decides to take a passive course regarding his position at Every Other Week; learns of Conrad's death and Lindau's clubbing; refuses Dryfoos's request to paint Conrad's portrait.

XIV

Broods over Dryfoos's visit, reflects on his relationships with Christine, Alma, and Margaret, and visits Mrs. Horn to discuss Margaret's charitable turn.

XV

Beaton, in a state of desperate pride and self-pity, decides to throw himself on Alma's mercy as a last chance to avoid marrying Christine Dryfoos. He confesses his love and his folly, but is ultimately rejected.

XVI

Mentioned as having been rejected by Alma Leighton; Fulkerson still holds a fondness for him.

XVII

Visits Christine Dryfoos after being rejected by Alma; his mood is cynical and capricious, and he is physically attacked by Christine.