John Erik Snyte was fifty years old; he wore an expression of quizzical amusement, shrewd and unwholesome, as if he shared with each man he contemplated a lewd secret which he would not mention because it was so obvious to them both. He was a prominent architect; his expression did not change when he spoke of this fact. He considered Guy Francon an impractical idealist; he was not restrained by an Classic dogma; he was much more skillful and liberaclass="underline" he built anything. He had no distaste for modern architecture and built cheerfully, when a rare client asked for it, bare boxes with flat roofs, which he called progressive; he built Roman mansions which he called fastidious; he built Gothic churches which he called spiritual. He saw no difference among any of them. He never became angry, except when somebody called him eclectic.
He had a system of his own. He employed five designers of various types and he staged a contest among them on each commission he received. He chose the winning design and improved it with bits of the four others. "Six minds," he said, "are better than one."
When Roark saw the final drawing of the Benton Department Store, he understood why Snyte had not been afraid to hire him. He recognized his own planes of space, his windows, his system of circulation; he saw, added to it, Corinthian capitals, Gothic vaulting, Colonial chandeliers and incredible moldings, vaguely Moorish. The drawing was done in water-color, with miraculous delicacy, mounted on cardboard, covered with a veil of tissue paper. The men in the drafting room were not allowed to look at it, except from a safe distance; all hands had to be washed, all cigarettes discarded. John Erik Snyte attached a great importance to the proper appearance of a drawing for submission to clients, and kept a young Chinese student of architecture employed solely upon the execution of these masterpieces.
Roark knew what to expect of his job. He would never see his work erected, only pieces of it, which he preferred not to see; but he would be free to design as he wished and he would have the experience of solving actual problems. It was less than he wanted and more than he could expect. He accepted it at that. He met his fellow designers, the four other contestants, and learned that they were unofficially nicknamed in the drafting room as "Classic,"
"Gothic,"
"Renaissance" and "Miscellaneous." He winced a little when he was addressed as "Hey, Modernistic."
The strike of the building-trades unions infuriated Guy Francon. The strike had started against the contractors who were erecting the Noyes-Belmont Hotel, and had spread to all the new structures of the city. It had been mentioned in the press that the architects of the Noyes-Belmont were the firm of Francon & Heyer.
Most of the press helped the fight along, urging the contractors not to surrender. The loudest attacks against the strikers came from the powerful papers of the great Wynand chain.
"We have always stood," said the Wynand editorials, "for the rights of the common man against the yellow sharks of privilege, but we cannot give our support to the destruction of law and order." It had never been discovered whether the Wynand papers led the public or the public led the Wynand papers; it was known only that the two kept remarkably in step. It was not known to anyone, however, save to Guy Francon and a very few others, that Gail Wynand owned the corporation which owned the corporation which owned the Noyes-Belmont Hotel.
This added greatly to Francon's discomfort. Gail Wynand's real-estate operations were rumored to be vaster than his journalistic empire. It was the first chance Francon had ever had at a Wynand commission and he grasped it avidly, thinking of the possibilities which it could open. He and Keating had put their best efforts into designing the most ornate of all Rococo palaces for future patrons who could pay twenty-five dollars per day per room and who were fond of plaster flowers, marble cupids and open elevator cages of bronze lace. The strike had shattered the future possibilities; Francon could not be blamed for it, but one could never tell whom Gail Wynand would blame and for what reason. The unpredictable, unaccountable shifts of Wynand's favor were famous, and it was well known that few architects he employed once were ever employed by him again.
Francon's sullen mood led him to the unprecedented breach of snapping over nothing in particular at the one person who had always been immune from it — Peter Keating. Keating shrugged, and turned his back to him in silent insolence. Then Keating wandered aimlessly through the halls, snarling at young draftsmen without provocation. He bumped into Lucius N. Heyer in a doorway and snapped: "Look where you're going!" Heyer stared after him, bewildered, blinking.
There was little to do in the office, nothing to say and everyone to avoid. Keating left early and walked home through a cold December twilight.
At home, he cursed aloud the thick smell of paint from the overheated radiators. He cursed the chill, when his mother opened a window. He could find no reason for his restlessness, unless it was the sudden inactivity that left him alone. He could not bear to be left alone.
He snatched up the telephone receiver and called Catherine Halsey. The sound of her clear voice was like a hand pressed soothingly against his hot forehead. He said: "Oh, nothing important, dear, I just wondered if you'd be home tonight. I thought I'd drop in after dinner."
"Of course, Peter. I'll be home."
"Swell. About eight-thirty?"
"Yes ... Oh, Peter, have you heard about Uncle Ellsworth?"
"Yes, God damn it, I've heard about your Uncle Ellsworth! ... I'm sorry, Katie ... Forgive me, darling, I didn't mean to be rude, but I've been hearing about your uncle all day long. I know, it's wonderful and all that, only look, we're not going to talk about him again tonight!"
"No, of course not. I'm sorry. I understand. I'll be waiting for you."
"So long, Katie."
He had heard the latest story about Ellsworth Toohey, but he did not want to think of it because it brought him back to the annoying subject of the strike. Six months ago, on the wave of his success with Sermons in Stone, Ellsworth Toohey had been signed to write "One Small Voice," a daily syndicated column for the Wynand papers. It appeared in the Banner and had started as a department of art criticism, but grown into an informal tribune from which Ellsworth M. Toohey pronounced verdicts on art, literature, New York restaurants, international crises and sociology — mainly sociology. It had been a great success. But the building strike had placed Ellsworth M. Toohey in a difficult position. He made no secret of his sympathy with the strikers, but he had said nothing in his column, for no one could say what he pleased on the papers owned by Gail Wynand save Gail Wynand. However, a mass meeting of strike sympathizers had been called for this evening. Many famous men were to speak, Ellsworth Toohey among them. At least, Toohey's name had been announced.
The event caused a great deal of curious speculation and bets were made on whether Toohey would dare to appear. "He will," Keating had heard a draftsman insist vehemently, "he'll sacrifice himself. He's that kind. He's the only honest man in print."
"He won't," another had said. "Do you realize what it means to pull a stunt like that on Wynand? Once Wynand gets it in for a man, he'll break the guy for sure as hell's fire. Nobody knows when he'll do it or how he'll do it, but he'll do it, and nobody'll prove a thing on him, and you're done for once you get Wynand after you." Keating did not care about the issue one way or another, and the whole matter annoyed him.
He ate his dinner, that evening, in grim silence and when Mrs. Keating began, with an "Oh, by the way ... " to lead the conversation in a direction he recognized, he snapped: "You're not going to talk about Catherine. Keep still." Mrs. Keating said nothing further and concentrated on forcing more food on his plate.