The Project Gutenberg EBook of Two Studios, by Frances Peard This eBook is for the use of anyone anywhere 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 Title: Two Studios Author: Frances Peard Illustrator: FM Release Date: July 8, 2013 [EBook #43159] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK TWO STUDIOS *** Produced by Nick Hodson of London, England Frances Peard "Two Studios" Chapter One. Studio Number One. Art, in London, has many unexpected hiding-places. In the great palace-like houses of her successful followers she makes, it is true, at times an imposing show; but other votaries, less successful or more indifferent to outward glitter, find curious homes in which to plant their easels or model their clay. There is a broad thoroughfare along which the busy prosaic feverish rush of traffic ceaselessly presses; where all the surroundings are sordid and unpicturesque and unlovely; and, in the heart of this, a rusty entrance, with no feature to mark that it forms a division between two worlds, leads you into a strange, long court, where is an avenue of trees—twelve old pollarded trees, breaking into glad greenness of leaf, and gay with the twittering of birds. The sudden change from the noisy racket without to the peace of this quiet spot, the charm of contrast between the dark houses and the black stems and the lovely lightness of green, the oddity of an old figure-head which ends the line of trees, prepare you, in some measure, for that other world of which they form a threshold—a world in which there is hard work and heart-burning and disappointment, but also the joy of beauty and the eager interest of creation. The studios stretch like a long arm away to the right, on one side the painters with their gracious colours and draperies, and the “bits” they have collected around them; on the other the cold pure marble and the busy workmen carrying out the master’s thought; or, alone and self-contained, the bronze worker, modelling the clay or moulding the wax for his nobly severe art. Charles Everitt, who had set up his tent here among the painters, thought it, after five years’ trial, the most delightful spot in the world. To be sure he had a right to take a pleasant view of life. He worked from choice, not from necessity, by which fact he lost a good deal of the charm of success, but also avoided possible temptations to pass his time in producing pot-boilers. He was able, without difficulty or hesitation, to enrich his mind and his sketch-book by travel. He had too large an ambition —perhaps it would be fairer to say, too true a love of his art—to stick at its drudgery, or content himself with half-hearted dilettante study, and so far his independence had done him no harm; but it exposed him to some excusable bitterness from those of his fellows who saw prizes fall to him which meant bread to them. Perhaps in consequence of this barrier he had formed few—very few—intimate friendships, and at thirty had learned a reserve and caution which at twenty had seemed foreign to his character. It may be said, indeed, that there were times when they still appeared foreign; for he had been known to commit odd freaks which looked as if the original nature were not quite flattened out of shape. So far as near relations were concerned, he had none; but he was a man of good family, and art is fashionable, so that he was in great demand for dinner-parties. Moreover, on Saturday afternoons it was understood that he received visitors, and, though he was careful not to make his hospitalities too expansive, people came, wandering about the great studio, asking the same questions, and making the same unintelligent remarks, until his patience threatened to fail. Sometimes he got in another painter to help him—a young fellow who, unlike Everitt, was only kept at work by the sheer necessity of living, but who had genius and the very lightest of hearts, and, being the most troublesome, was also the dearest to Everitt of all his comrades. He repaid some of this trouble by being always ready to take visitors off his hands, though Everitt more than suspected that in his mischievous moods he was quite reckless in the assertions with which he amazed them. All sorts of extraordinary remarks floated towards him in half-caught words. “Yes. Nice picturesque interior, isn’t it? There were three children ill of scarlet fever in the room when Everitt painted it. He was only admitted on condition that he sat on the edge of the bed, and gave them their medicine at the proper hour. Long ago? Oh dear, no—not long. Everitt never sticks at anything which—” Somebody began to speak to Everitt, and he lost the remainder. Presently Jack Hibbert drifted again into hearing— “That? Oh yes, there’s a very remarkable story connected with that picture. A great deal in the girl’s face, as you say. Well, Everitt happened to have painted it from a model; he doesn’t always, you know. No, you’re quite right; we do our best things entirely out of our own heads; it secures originality. Just so. However, sometimes Everitt has to fall back on a model, and we heard afterwards that this one was in disguise; there’s was a hint that she was a duke’s daughter—” “Oh, Mr Hibbert, how delightfully romantic! Do you mean to say you did not guess?” “Well, there was a something, there certainly was a something—you can see it in the face, can’t you? —something so—so—” “So distinguished. Exactly!” “Hibbert?” growled at his elbow. “Ah, here’s Everitt himself; I’ll make you over to him,” said the unabashed young man, with a laugh. “I give you warning, though, that he hates romance. If you listen to him he’ll deny that there’s a word of truth in any of my stories.” Later on Everitt fell upon him. “You unprincipled young dog, what do you mean by uttering such a farrago of nonsense? You’ll be bringing all the scandal-mongers of London down on my head. A duke’s daughter disguised as a model! I should like to know where your impudence will lead you!” “Oh, it was the duke’s daughter which made it all right. Mr Smith will want to buy that picture, you’ll see. Hallo!” Everitt’s brow relaxed; he burst into a laugh, as the parrot, which Jack had been teasing, made a successful dive at his finger and seized it. Just at this moment the studio bell rang. “Another! I’m off!” cried Jack, jumping up from his chair. Everitt himself looked anything but pleased; he flung his cigarette down with an exclamation of annoyance, and went to the door, while Jack made his escape by another exit behind an elaborate Japanese screen. It was past the time for visitors, and the foremost of the two new-comers made haste to apologise. She was a pretty woman, and a favourite cousin of Everitt’s, so that there was some excuse for her intrusion. “Yes, I know exactly what you said when you heard the bell,” she said smiling. “Was Mr Hibbert with you as usual, and did he run away? I am sorry for that, because I like Mr Hibbert.” “Did you come here to tell me so? And now that you are here, won’t you sit down?” questioned Everitt in his turn, putting forward a couple of chairs, and clearing away a few motley bits of drapery. “No,” said Mrs Marchmont; “I had two much better reasons. One was that I might bring Miss Aitcheson here. She has come up to London with an ingenuous mind which takes the most reverential attitude in the world towards art. I am trotting out all my lions for her benefit, and you are the biggest. Please show her something, and roar nicely.” “I had better,” he said, “since there is nothing else I can do. Don’t you know that this is the empty time at all the studios?” “Oh, never mind. Your unconsidered trifles will be gratefully appreciated. Look, Bell; don’t you like that face?” “That’s my duke’s daughter,” said Everitt with a laugh. And he told them the story of Jack’s romance. Miss Aitcheson did not say much. Everitt privately thought her rather uninteresting. She was tall and fair and slender, with light brown hair, a small head, and a very quiet manner, whether due to shyness or reserve or dulness he could not tell; nor, indeed, did he give himself the trouble to investigate very closely. He directed his attention to his cousin, Mrs Marchmont; and she was a sufficiently lively little person to have no objection to its monopoly. Meanwhile Miss Aitcheson wandered about, looking as she liked—at faded hangings, and ancient Indian rugs of fabulously fine needlework, and pictures in frames and out of them, and the parrot in his cage, and odd bits of a painter’s property. In this fashion she enjoyed the studio a hundred times more than if she had been called upon at every moment to remark on its contents; and certainly the painter and Mrs Marchmont were doing very well without her. But presently their conversation touched on some subject which evidently interested her: for she drew nearer to hear it discussed, although still examining a Roman sketch which she held in her hands. “Don’t look so miserable, Charlie, but promise that you’ll do it for her. In fact, I have promised. W hy, of course you know all the models in London.” “I don’t. I hate London models.” “Well,” said Mrs Marchmont with swift inconsequence, “I don’t suppose you expect a young girl to prowl about those places where they live?” Everitt shrugged his shoulders. “What is it to me?” “Charlie,” repeated his cousin, with a kind of shocked disappointment in her voice, “if you will not take such an absurd fraction of trouble when I ask you—” “My dear Mary,” he said, turning quickly, “if you ask me on your own account—” “Of course I do. I ask it as a very personal favour. If you knew Kitty Lascelles, it would be unnecessary to put it on that ground,” returned Mrs Marchmont, still keeping up a little air of dignity. “I apologise a hundred times. What is it that Miss Lascelles wants?” “A model—an Italian model.” “Man or woman?” “Man.” “Contadino, broad hat, long cloak—the stock production, I suppose?” “I suppose so,” she said, looking at him doubtfully. “All young ladies like that style of thing.” “Don’t be overbearing. Miss Lascelles is an excellent artist. Her father is one of the staff at the Military Hospital, and has fitted up a studio for her, where she works with—a friend,” she added, with an imperceptible glance at Miss Aitcheson. “It is the most delightful old-world place you can imagine. Shall I drive you there some day?” “Thank you; you are very good,” he said hastily, “but you must remember that I am not an idle man. Besides, it is quite unnecessary; I am doing this for you.” “And you can find just what she wants? I knew you would,” said his cousin triumphantly. Everitt reflected. “I can put my hand at once on the best man in London for that sort of thing,” he said slowly. “W hen does she want him—on Monday, I suppose?” “Yes. Why, however, do you suppose it?” “Because ladies are impatient in art as in everything else, and while I should spend a fortnight in selecting a good model, you would expect him to grow out of the ground at your feet.” “If I had told you that I wanted him.” “I make my bow,” Everitt returned. “Well, as it happens, the best man in London for her purpose is coming here on Monday morning.” “That,” said Mrs Marchmont, “is what I should have expected.” “He’s a first-rate model, and an awful ruffian.” “He can’t do any harm.” “Then, in spite of my character of him, you think Miss Lascelles would wish him to be sent on to her?” Mrs Marchmont smiled. “I am sure she would—coûte que coûte.” “In that case, unless he is hopelessly drunk, I will forward him.” “That is really good of you,” she said, getting up; “and to prove that we are not ungrateful, we will go away this minute, and allow you to begin another cigarette in peace. I shall tell Kitty that you have made a solemn vow to provide the man she wants on Monday morning.” “I’ll do my best,” said Everitt. “Oh, no limitations, please. If you can’t get him, you will have to find another. I have no doubt they run about quite tamely in this long corridor of yours. Don’t come any farther. I’m immensely obliged to you, and so Miss Lascelles will be when she hears of the ruffian—won’t she, Bell?” In spite of her request, Everitt walked with them to the carriage, which waited in the street. W hen it had driven off, he turned back, lit his cigarette, and paced up and down under the quaint little avenue. It had never seemed more peaceful, or offered a tenderer contrast to the hot exhausted- looking street outside. May had just begun; the delicate green had burst out, and was clothing the dark boughs with delicious and dainty lightness. A late sun was shining down on the little court, and the feeling of spring was abroad. Everitt stopped and looked round impatiently upon the houses. “I can’t stand this much longer, if the weather keeps fine,” he said. “It’s waste—sheer waste. And those shoals of old women on Saturday afternoons are becoming intolerable. I must break it off somehow. The best I could do would be to shut up and be off to Pont-aven, or somewhere where one hasn’t a hundred and fifty interruptions. It would be a good thing for Jack, who might find fewer excuses to be idle, and it would stop having to provide models for young women who set up studios when they ought to be drawing straight strokes. I know the sort of thing—exactly. And unless I look out, Mary Marchmont will be making elaborate arrangements that I should go and correct her drawings. May the fates avert that! I’ll provide this one model, and there my engagements begin and end.” Chapter Two. Studio Number Two. That was a rash boast, with which Everitt concluded his meditations under the trees, but no misgivings disturbed him as he went back to the studio, set a few things in order, gave some directions to the porter, and departed. He dined out and went to the play, and passed the next day without a thought of Miss Kitty Lascelles, until towards evening he met Mr and Mrs Marchmont near Albert Gate. As they parted, Mrs Marchmont reminded him of his promise. “If you are faithless,” she said, “I will never forgive you. I saw Kitty this morning, and she told me that a ruffian was exactly what she wanted.” “Well, she’ll have him,” said Everitt, grimly. “W hy hurl threats at me? I am not likely to forget. But you are, apparently, as much interested as she is. May I ask why?” “Because,” she said, “she is my dearest friend, and I don’t like my friends to be disappointed. And she is so enthusiastic and eager about her art! I do wish I could bring you two together. Won’t you come and dine? George, persuade him.” “When I come back from Pont-aven,” said Everitt, escaping with a laugh. He was an early worker, and it was his custom to be in his studio, painting, a good hour before Jack Hibbert began his studies. He made an effective picture himself as he stood at his easel—a handsome man, rather above the usual height, dark and bright-eyed, with a clear olive skin, and well- cut features. The lofty studio, with its hangings of faded harmonious colours, its pleasant irregularities, and its pictures standing about, formed an excellent setting. A fire burnt on the hearth, and the parrot was engaged in making pertinent inquiries of his master, which Everitt answered absently, for he was at work upon a subject which interested him. At last he looked at his watch with an exclamation of annoyance. “W here’s that fellow? He should have been here half an hour ago.” He pulled a bell impatiently, and it was answered by the porter. “Has Giuseppe come?” “No, sir.” “Hurry him up when he makes his appearance—that’s all. Or—stop! Is Greggs engaged this week?” “Yes, sir.” “Foster—where’s Foster?” “Mr Sydney has him.” “Well—send that fellow in the moment he comes.” “Very good, sir.” Everitt fell to his painting again, but without success. He was a man who had a very strong feeling about a promise, and he hated the idea of failing to fulfil it. It began, indeed, very soon to annoy him seriously. He flung down his brushes, and caught up his hat to go in search of the delinquent, when Hill, the porter, once more appeared at the door, with a significant grin on his face, at sight of which Everitt abruptly stopped and whistled. “Oh!” he remarked the next moment. “Yes, sir.” “Bad?” “Dead drunk, sir.” “Pack off the brute,” said Everitt in a disgusted voice. He came back and stood before his easel with his hands thrust into his pockets; then seized a brush and began filling in a bit of foreground. Presently he left his work again, and resumed his pacing. “This won’t do; I shan’t get a decent bit of work done this morning, if I don’t settle the matter one way or other. Now, what on earth’s to be done? Write a note—present my compliments, model drunk, sorry to disappoint, and so on? Go myself, and apologise? No; that’s a little too strong. W hat a fool I was to get drawn into this business! If Hill weren’t wanted, I’d dress him up and send him—that wouldn’t be half a bad plan; or if I could hit upon some one as accommodating as the duke’s daughter,” he added musingly, standing before the canvas. The next minute an odd, almost eager look crept into his eyes. He began to smile, shook his head impatiently, smiled again, overmastered by the fancy, whatever it was—suddenly turned away. “Yes, I’ll do it!” he exclaimed aloud. W hatever it was to which Everitt had made up his mind—and, as has been already hinted, he was at times the victim of freaks which laid his character open to the charge of inconsistency—he lost no time in carrying it out. His first act was to lock his doors, his second to go to a sort of cupboard where some half a dozen costumes were hanging, and to proceed to attire himself in one which belonged to the typical Italian at whom he had mocked; for it was one of his fancies to have a very complete set of these costumes, and his brother artists were not slow to avail themselves of his stores and his good-nature. Having fallen in with the fancy which suggested his present action, he was not the man to hesitate in the doing. He dressed himself rapidly, but with a care which descended to the smallest details, took down an old faded blue-green cloak, which had sunned itself often on the Trinita steps, and inspected himself closely in a looking-glass. On the whole, he thought it satisfactory. In an Italian dress his face appeared Italian; a weak point, of course, lay in his hair, which was short, but he pulled his broad hat over his forehead, and corked his eyebrows to a more generous breadth. He had no fear whatever of being recognised in the street, and as for Miss Lascelles, he assured himself that by exchanging him for Giuseppe, she had, unquestionably, no cause for complaint. His chief danger lay from meeting Jack Hibbert in the court, for Jack, with his investigating mind, was tolerably sure to overhaul an unknown model, and though in that case Everitt had resolved to take him into his confidence, it must be owned he shrank a little from the fun Jack was sure to get out of the affair. However, he was not going to retreat; he was beginning to feel a keen interest in his own adventures. Opening the second door, which served for models and intimate friends, he took a glance round the court, and, finding it empty, hastily locked his door, and stepped out into the shadow of the trees. He was in luck, for no one was hanging about, and the next minute he was in the street. The plunge gave him, it must be owned, an odd sensation, the more so when he saw that he was only just in time, for Jack was on the other side of the street in the act of crossing, Everitt strode on quickly. He fancied himself the centre of all eyes, but after a time this feeling wore off. The people who glanced at him only saw a model on his way to a studio, a picturesque figure in the midst of unlovely things; the children stared as they would have stared at a man with a monkey, or any other show; there was nothing in him to attract unusual notice. But he felt so unusual himself, that it took him some time to make sure of this. Then, the awkwardness wearing off, his spirits rose. He found the situation amusing. He rather wished to meet some one whom he knew that he might test his disguises to the utmost. It was a beautiful morning, and there was a novelty in the impossibility of shocking probabilities by calling a hansom, which in itself was absolutely exhilarating. W hen he reached the Hospital his pleasure increased. It was too early in the day for many of the old men to be out sunning themselves, but he became immediately aware of the peaceful and old-world atmosphere which hung about the place. A morning breeze was blowing up the river, and delicate white clouds sailed across the sky. In the midst of its trees lay the Hospital, warm red brick, with white pointings and grey stone pillars, on which the sunshine rested softly mellow; with its broad frontage of green turf, and its iron gates, and its little graveyard, where lie the old heroes waiting for the “last trumpet’s sounding.” Everitt had not been there for years; it seemed to him almost as if he had never been before—as if all those years he had lost something. W hen one or two old men, in long blue coats and brass buttons, and broad three-cornered hats, strolled out of the side gates and stared at him, he felt as if the picture were complete, except that he began to hate himself for being the incongruous feature. He was directed to one of the brick houses which cluster near the Hospital itself, and closely resemble it in their details; his guide hobbling before him, and now and then throwing at him a suspicious glance. Everything was exquisitely trim and clean; the warm colours, the tender shadows on the old brick, the sunshine, the sober cheerfulness, the lilacs just breaking out in the gardens, the filmy green which daintily touched the trees, were full of delightful charm; and, though the river was not visible, a sort of feeling of its neighbourhood—a freshness in the air, an opening in the distance— added to this charm. They were not long in reaching the Lascelles’ house, built, like the others, of substantial, warm red brick, square and solid, with well-grown trees about it, and gay flowering shrubs, in which blackbirds were singing, as if London were miles away. It must be owned that, as Everitt walked up the back staircase—which was, however, of oak—he began to feel unusually embarrassed. The little room into which he was ushered was as different from his own lofty and convenient studio as could be imagined, yet it was all in keeping with the rest. A rough sandy English terrier, with prick ears and bright dark eyes, made an immediate dash at him, and was seized by his mistress. This gave Everitt time to glance round him, and to observe that the room was panelled with old oak, and painted above a dull green; that the light was excellent, and the furniture of a somewhat scanty description; that a good many vigorous studies were stuck about; and that the whole aspect of the place looked like business. Then he surveyed Miss Lascelles, who was pacifying her dog. She was not at all the sort of person he had expected to see, though it must be owned he had built his ideas without a vestige of foundation. She was small and very girlish-looking, with a bright, happy face and pretty, graceful movements. Her dress was of some soft brown material, with velvet of a darker shade about the neck which matched the brown hair lying smoothly on her little head. “Sandy, be quiet!” she said; then looking at Everitt, “You are sent by Mr Everitt?” “Signorina, yes.” He felt that on this score, at any rate, there could be no question. “I have been expecting you for some time,” she went on; “I should like you to be more punctual another morning. But now I will show you where you are to stand.” To stand! Everitt’s heart sank; he had hoped he might sit. “I want,” said Miss Lascelles, calmly—“I want you to stand with your hand above your eyes, shading them—so. You are to be one of a group of peasants who are coming into Rome with all their goods, escaping from an inundation—you must have seen them, I’m sure? You are leading the string, and looking before you eagerly, perhaps to see whether some one who is missing is in front. You understand?” “Signorina, yes. But—” “What?” “The sun with an inundation?” “It has broken out, and is shining on the pools of water in the road.” Everitt felt much more capable of criticising and suggesting than of posing as she desired, but there was no help for it. She had even looked a little astonished at receiving his last remark. He exerted himself now to stand in such a position that he could see her at work at her easel, and he was sufficiently experienced to be able to judge from her manner of handling her brush that she worked with vigour and freedom. He was conscious at the same time that he was not himself a good model; he even suspected that he now and then read a little disappointment in her face. Keeping his arm raised was fatiguing; he knew that he swayed, then began to feel as if pins and needles were all about him, then as though he were turned to stone. The ordinary hour had seemed to double itself before Miss Lascelles inquired gently whether he wished to rest. Rest! Never had the word a sweeter sound. He sat down by the window. Outside and below there was a little old-fashioned garden with a brick wall and gravel paths. Two or three children ran out into these paths, and began a joyful onslaught upon square little plots where mustard and cress were sprouting into different combinations of the letter L. Further on a swing was fastened between two fine elm trees which grew out of the turf. There was a great deal of sunshine, and as yet little shade: only a finely outlined delicate network of shadows cast by the branches on the grass. Everitt had never in his life been more glad to sit down, and he thought the look-out delightful. Presently the door opened, and another young lady came in. He looked round idly, but the next moment a very disagreeable sensation shot through him. He recognised her at once—the girl who had come to his studio with Mrs Marchmont. Supposing she also remembered him? What a fool he had been not to take such a possibility into account! Good Heavens! what was to prevent Mrs Marchmont herself from arriving? He took refuge in the garden, and in a corner of his cloak, horribly conscious that in a few minutes he would have to stand up before her with the full light striking upon him. But if she did not know him at the first glance, she might become more hesitating and confused the longer she thought of it; and he trusted a good deal to his hat. Meanwhile the two girls were talking, too low for him to hear. “Well, Kitty, are you satisfied?” “I’m not sure. It’s a good dress—isn’t it? But, Bell, he’s not—I assure you, he’s not—a good model.” “Not?” repeated Bell. “Mr Everitt seemed to think him splendid. He said he was the best possible, but,”—lowering her voice—“a dreadful ruffian.” “He is a very mild-looking ruffian, then.” “Oh, Kitty, there’s a horrid expression in his eye!” “Put it in, then; I can’t see it. But he can’t stand—he fidgets. He wanted to rest long before the hour.” “That,” said Bell, severely, “was laziness.” “Perhaps. I don’t know,” said the other, doubtfully. “There are all your things; what shall you do?” “Only his head. But I wish his hat wasn’t a necessity for you. It is, I suppose?” “Yes, my dear, an absolute necessity. You needn’t mind so much, though, for his hair is quite short.” “Short? How very odd! How—” Kitty interposed with a pretty little motion of her hand. “I really think he has rested long enough. W ill you please stand again?” she said in her young, clear voice. Everitt rose with decided unwillingness. He was reluctant to face Miss Aitcheson, and began to think that what he had undertaken so lightly might turn out a serious matter. A hundred possibilities flashed through his mind: and then, it annoyed him that Miss Aitcheson placed herself where he could not judge whether she made any discoveries or not. Still, he got through this hour better than the last. There can be no doubt that silence is a power of which we underrate the force. Hours of ordinary small talk would not have affected Everitt so strongly as these quiet moments in the old oak-panelled room, with the sunlight, the birds, and the children outside; and inside, this girl—for he could not see her companion—working steadily, and, he was sure, well, with quiet, simple intentness. Sometimes she stepped back a foot or two, and stood looking from her picture at him, throwing back her head, and showing clearly the soft whiteness of her throat and the pretty shape of her head. Instead of looking before him at his unseen comrades, he more than once found himself watching her with steady interest, and thinking in what fashion he would paint her if he got the chance. Standing as she was standing now, he determined, for it was difficult to conceive anything prettier. Suddenly Sandy, who had given himself over to sleep to avoid looking at Everitt, jumped up, pricked his ears, trotted to the door, and stood with his head on one side. Then a step was heard coming heavily along the passage. “That’s my father,” said Bell. “He has come here to talk over something or other, and he said he’d look in. Don’t mind him, Kitty; go on.” “I don’t know if I can,” Kitty answered a little nervously. The answer surprised Everitt for a moment; the next he understood. The new-comer was an upright, square, red-faced man, and when he came in he seemed to bring with him a dozen elements of disturbance. His boots creaked, his voice was loud. “Here you are, here you are, eh?” he began. “Well, Kitty, how are you getting on with this fad of yours? I’ve just been telling your father I don’t thank him—I don’t indeed. If it weren’t for you, Bell would be at home, working at her needle, or doing something with a little sense in it. Painting! W hat’s the good of it when you’ve done it, eh? that’s what I want to know. W ho have you got here? Italian? No more Italian than I am, I’ll be bound. Here, you Smith, Jones, whatever you’re called, I should very much like to know whether you’ve ever seen any country but England, eh?” Bell interposed. “Father, you mustn’t interfere with Kitty’s models.” “Models, nonsense! If you want models, why don’t you draw one another, eh? Save your money, and not have these fellows hanging about. I wouldn’t allow it if I were Lascelles, not I! Well, I’ll take myself off, Kitty; I don’t want to disturb you, but take my advice, don’t you believe he’s an Italian, and don’t let yourself be taken in. If you’re ready in half an hour, Bell, I’ll take you home.—Hallo! what have I knocked over now? If you will have these bothering things on three legs standing about— Never mind? But I do mind; I mind uncommonly. Don’t talk to me, Bell; if you had decent furniture, a man needn’t knock his shins against it.” He went away grumbling. The girls looked at each other and laughed. “It is a little like an earthquake,” remarked Bell, calmly. “He is delightful everywhere but in a studio,” said Kitty. “He knows nothing about pictures, but he makes me feel I know less. Bell, is it all a waste of time?” “I don’t know,” said Bell. “Make as good a waste of it as you can, at all events, and go on with your picture.” To Everitt—“Keep up your hand, please; it drops more and more. Are you used to standing for artists?” Everitt felt that he reddened. “I have not been standing lately, signorina,” he stammered. “So I thought,” returned Bell, inexorably. Silence followed for a time; then Kitty put her easel on one side. “That will do for to-day,” she said. “I don’t think you can go on longer. Perhaps to-morrow you will be better able to stand, and pray be more punctual.” “To-morrow, signorina?” faltered Everitt. This was too much. “Yes, to-morrow. Are you engaged?” “I am engaged every day this week.” “Every day? Oh, how tiresome! how very tiresome! What can we do?” “Is it to Mr Everitt?” inquired Bell, applying a little turpentine to a spot of paint on her dress. “Signorina, yes.” “Do you know, I think he will let you off?” she said, raising her head and regarding him calmly. “I am almost sure of it.” “Do you think so?” cried Kitty, joyfully. “Then,”—to Everitt—“will you ask him? Ask him to let you come, at any rate, to-morrow; and we will leave it in this way, that if he cannot spare you he will let us know.” “But I think you will be here,” repeated Bell, in the same assured tone. Chapter Three. A Second Venture. As Everitt walked home he was a prey to many conflicting feelings. It must be owned that he had entered upon this freak of his in a very inconsequent manner; he had not so much as reflected what results might not grow out of the necessity for repeating it. Moreover, he had lost the first sense of amusement in his masquerade, and hated the business. W hy on earth had he not accepted Mrs Marchmont’s proposal, gone with her to see Miss Lascelles, and avoided this extremely false position in which he had planted himself? Why, indeed! As it was, it was with a feeling of rage that he thought of the next day, when he would be expected to stand up again before her—like a fool, as he said bitterly. Besides, it was a great deal more uncomfortable than he had expected—he was still cramped and stiff from the position. He made a swift resolution to have nothing more to do with it. It was easy enough to write a letter, as coming from him—Everitt—to say that the model could not be spared, but that he would do his best to send her another in a day or two. That was certainly what he would do. The relief of the decision did not, however, last long. It was all very well to throw up the engagement, but was it fair upon Miss Lascelles? Everitt knew by experience that one model was by no means the same as another, and, as artist, he found his solution questionable. Also, he now felt an insurmountable objection to introducing the real Giuseppe to that little studio—it had an air of desecration repugnant to his good taste, if to nothing more. And thirdly, in spite of fooling, in spite of cramps, it must be owned he had a lurking desire to find himself there again; the homeliness of the place, its old-fashioned solidity, its mellow brick, its sunshine, its trees, its birds, its associations—one and all had, as he was obliged to acknowledge, taken a certain hold on his imagination. The girls were merely an accident—a pleasant and harmonious accident, it is true—but their surroundings had an extraordinary fascination; he could not reconcile himself to have no second peep at them. Mrs Marchmont might no doubt take him there if he announced himself as penitent for rejection of her good offices; stupidly enough, however, he had effectually shut himself out, since the risk of discovery in going to call upon the lady who has been painting you in an assumed character was rather more than even his audacity could face. It appeared, under all these circumstances, as if the best thing he could do was to figure as a ruffian once more. “It will be a lesson to me,” he said, with a half laugh, “even if fate lets me off this time without playing me a scurvy trick.” Fate spared him. He got into his studio unseen of Hill or Jack. Jack came thundering at his door not three minutes after he had changed his clothes. “A pretty fellow you are!” he began indignantly, when Everitt let him in. “Out larking all this morning, while we poor wretches toil and slave! And down upon me for taking an hour now and then! W here have you been?” “Find out,” said Everitt, grimly. “A polite way of suggesting that I should mind my own business. Well, it’s my turn now. I’m off. But as I am more civil than you, I will inform you that I am going to study effects on the Thames. Silvery reaches, sweeping clouds—all that style of thing. Excellent practice, isn’t it?” “Oh, excellent,” Everitt said in the same tone; “especially studied as you will study them. W hat a fool you are, Jack, to fling away your chances!” “Turn and turn about,” said Jack. “It’s a heavenly day, and you’ve had your go at it. I’m off.” He marched away, stopped at the door, scrawled a spirited charcoal caricature of Everitt on a spare board, ducked to avoid a mahl-stick which was promptly flung at his head, and whistled himself out of hearing. “Pont-aven,” reflected Everitt. But somehow the notion of the little fishing-village, with its colony of artists, its wealth of models, its picturesque points, its wind-tossed seas, had lost a charm which the day before had seemed, irresistible. It might be good for Jack, it might not. He had that talent for idleness which can extract it under almost any pressure of circumstances. It was exceedingly likely that he would succeed in amusing himself very well at Pont-aven—probably learn to handle a boat like a native, and all the while avoid steady work with all his present ingenuity. In that case, there was not much use in going. Of his yesterday’s wish to be off on his own account, of his sickening over his Saturdays, of his general impatience with London—Everitt remembered nothing. It seemed to him, on the contrary, that few places were so good to live in, and he hoped that Mary Marchmont might come again on Saturday. Then he looked round upon his walls with dissatisfaction. There were beautiful and costly things hanging about in finely harmonised colours, rich curtains, ancient rugs, and Arabic lamps; there were choice pictures, and two or three admirable bronzes from a neighbouring studio; but it seemed to him that, in spite of the value of these things and their artistic beauty, the place had no touch of the charm which belonged to the little room in which he had found himself that morning—a room which was so simple, so unassuming, and so cheerful! In short, it was evident that he had received an impression. This was all very well, but it was equally evident that he could not have produced one, except in the character of a ruffian; and that, moreover, he had himself cut away the ground from under his feet. It is true he did not get so far as to admit that this gave him more than a general reason for annoyance, but he did feel that a good-natured impulse had placed him in a hateful position from which he could not even now retire. Then his model arrived, and he flung himself into his painting, and kept the other subject out of his head, except that he had never been so merciful in the matter of rests. He dined out, and the first person he saw on entering the room was Mrs Marchmont. She came towards him very cordially. “You were as good as your word, and sent the dreadful man.” “Did Miss Lascelles say that he was dreadful?” asked Everitt, flattering himself that he spoke indifferently. “Bell told me he had a very fierce expression. I have not seen Kitty. But it was nice of you to take the trouble.” “Oh,” said he, a little spitefully, “I had promised a ruffian.” “You had,” she said. “Do you find people always carry out their promises? I don’t.” “I sometimes wish they wouldn’t,” he retorted. “But this Miss Lascelles—what has attracted you so much towards her?” “No one could help it,” she said. “I should like you to meet her, and then you would understand what I mean.” “Evidently she would be dangerous,” he said, shaking his head. “I daren’t risk it. Has she a father, or any one belonging to her?” “Of course she has a father,” she replied, “Women don’t hold military appointments yet. A very nice, particular father—Oh, here is Bell!” She hurried across the room. Everitt remaining behind with very unenviable feelings. It seemed a particularly bad piece of luck that Miss Aitcheson and her father should appear at this party; for already he was not free from the suspicion that she had recognised him. There was nothing for it but to brazen it out. He strolled across the room towards her; but at this moment dinner was announced, and his course was diverted. At dinner they were on the same side, out of sight of each other; then he began to reflect that with a large party in a double drawing-room a little management might prevent any actual contact. W hen the ladies had gone. Colonel Aitcheson came over to speak to Marchmont, who was near Everitt. Everitt would have drawn off, but that Marchmont made some remark to him, and Colonel Aitcheson faced round, shoulders and all. “You must excuse me, sir, but your face is extraordinarily familiar to me.” Everitt bowed. Marchmont hastened to introduce him. “Perhaps you know the name?” “Not at all, not at all. I’ve no head for names—forget my own some days; but a face is another sort of thing—never forget a face.” He threw his head back and looked frowningly at Everitt. “I could have sworn I’d seen you somewhere lately, eh? Well, it’s odd, it’s odd. I must ask Bell.” “I dare say you’re right,” Everitt said coolly. “I’m about a good deal.” Upstairs he took some pains to barricade himself in a subdued corner, as remote as possible from Miss Aitcheson, and made such unusual efforts for the entertainment of the young ladies who were round him, and whom he earnestly desired might stay, that he gained quite a new character for agreeability. Unfortunately, his hostess routed him from his retreat—some lady was anxious to make his acquaintance. When this was over he found his cousin at his elbow, and close to her was Bell. “You haven’t been very nice to me tonight,” said Mrs Marchmont; “and it is too late now, for we are going. But you may talk a little to Bell about pictures. You can be very intelligent, can’t you, Bell? Good night.” Everitt felt desperate. “You paint, I suppose?” he inquired, “A little,” she said demurely. “Figures.” He looked keenly at her, but she was engaged in examining a gold bangle on her arm. “That,” he said, “is ambitious.” “And often disheartening,” she returned carelessly. “My experience of London models has not been very satisfactory.” “No?” he said in the same tone. “Well, I suspect the experience of a good many artists goes along with yours. Where is your studio?” “I have none. You see I am not ambitious, after all. W hen I paint it is with my friend, Miss Lascelles, whom, I think, you know?” Was it a chance thrust, or a well-directed blow? “I have seen Miss Lascelles,” said Everitt coolly. She glanced at him as he spoke, then, as it seemed to him, rather forcibly changed the subject. She left him, however, in a state of perplexity; he found it impossible to decide whether she were utterly unsuspecting or very well informed. Under these circumstances it might have been supposed that Everitt would have again gone through the pros and cons which had already assailed him, and have found a few more prudential reasons for abandoning to-morrow’s scheme. This was not the case. He had rather an obstinate trick of sticking to the thing to which he had once committed himself: it had its merits and its dangers, but it might be called a characteristic. W hen the morning came, matters did not go so smoothly as on the preceding day. Jack Hibbert was seized with the fit of remorseful industry which afflicted him on the rarest possible occasions. He came at an unheard-of hour to the studio, and Everitt had all the difficulty in the world to get rid of him. He must ask no end of inconvenient questions—what had become of the Italian, and how bad Everitt filled his place with Miss Lascelles? Then, seized with unusual meekness, he begged advice, and wanted his last picture looked over; next, he was scandalised at hearing that Everitt was going out again for the morning; finally, he besought that he might work in his friend’s studio upon a bit of tapestry which took his fancy. All these attacks had to be parried, the indignant Jack had with immense difficulty to be got out of the way; then Everitt dressed himself as rapidly as he could. He took pains about his lace; a few adroit touches he trusted modified the risk of detection, and might baffle Miss Aitcheson. As cautiously as before he reconnoitred the court, but with Jack about there was more difficulty in escaping, and he had not reached the entrance when he heard a cheerful hail, which was evidently intended for his ears. There was no help for it, Everitt took to his heels and fled, bolting across the road and down a side-street, to the great astonishment of the beholders. All this had taken time—he was late again, and Miss Lascelles greeted him with a little reproach, which it must be owned did not affect him; for he was merely conscious of an extreme pleasure in finding himself again alone with her. He had been curious enough to know whether his first day’s impressions were altogether correct, whether they depended upon their unexpectedness, or on some merely subtle atmospheric charm. This second day they were stronger. The room seemed to be more delightful, its simple grace more apparent; it improved with familiarity, as the best things improve. And for Miss Lascelles herself, there was a delicate sweet freshness about her, which he did not attempt to analyse or put into words, only he was dimly conscious that it gave him a dreamy pleasure, and that he liked to watch the deft movements of her hand as she painted. He lost himself sufficiently in their contemplation to forget fatigue, and to stand more steadily than on the previous day; but there was something he had to say, and he seized the opportunity of the first rest. “Signorina!” She was softly singing to herself, and looked up with a start. “I am too much engaged to come again. Mr Everitt says, will the signorina kindly finish what is necessary, and he will send another model in the same costume.” She did not immediately answer; when she did it was to ask— “Is not the costume yours?” “Signorina, yes.” “I did not know you lent your clothes to one another.” Everitt muttered something about not wanting that particular costume this week, and she went on to inquire in what character he was sitting for Mr Everitt, to which he had to reply that he did not know. She followed this up by asking a good many questions about himself, to which he responded in a deprecatory manner, though he was conscious of dangerously dropping the stupid vacancy behind which he had at first entrenched himself. Everitt, indeed, who had gone through a succession of London seasons without a heartache, had fallen a helpless victim in a few hours. There was an extraordinary fascination for him in this girl and her surroundings; he watched her furtively, called himself a fool for being there, and would not have been anywhere else for the world. Once she flung up the window and leaned out, resting on her finger-tips, to call to the children, who this time had Sandy with them in the garden. She was greeted by a shout. “Come out, Kitty! Leave that stupid old painting. It’s lovely out-of-doors.” She laughed and shook her head. “Kitty, I want something out of your garden.” “What?” “That pink flower.” “Oh, you robber! Well, you may have it, but move it very carefully, and give it plenty of water. Where’s mother?” “Gone to the infirmary to see old Dickson. Kitty!” in a pleading voice. “No; I can’t spare any more. My poor garden will be bare.” “Only a clump of forget-me-nots. Yours are such beauties!” She drew back laughing, and shut the window. For the first time Everitt regretted the absence of Miss Aitcheson. Had she been here Kitty, might have gone on talking, and he thought her voice the prettiest that he had ever heard; but, after all, though he was unconscious of it, it was her silent presence, and the opportunity for imagination which it afforded him, which momentarily strengthened the spell. As for not seeing her again, that idea had vanished for ever. See her he would, at whatever risk; and even the waiting a few days—to which prudence, driven from all her strongholds, fell back upon at the last—seemed a miserable concession, to which it was more than doubtful if he would yield. Why, in those few days some other man might come to the front! It will be seen that Everitt was very far gone indeed. He was trying to forget the stiffness of his arm, and he had quite succeeded in forgetting Miss Aitcheson when she came in. “Oh, Bell!” reproachfully from Kitty. “Yes, my dear, it’s too tiresome! But father has taken this fancy for coming with me, and he has kept me waiting for ages. I made Hugh walk with me, after all, and it is too late for any painting, and I am very much disappointed.” “Yes,” said Kitty regretfully, “it is too late. The time is up.” To Everitt—“You can go now, and please tell Mr Everitt that I am sorry you cannot come again. Oh, and I will pay you.” Pay! Horrible humiliation, of which he had never thought, and yet which he dared not refuse! He murmured something about waiting, but Kitty had already her little purse in her hand, and was counting out the shillings. It seemed to him as if he hardly knew where he was, as he went out of the room with reluctant feet, and down the oak staircase into the ground between the house and the Hospital, where the old men stood about or sat in the warmly sheltered corners. Chapter Four. Discovery. Kitty Lascelles watched her model out of the room with some intentness. W hen she turned away at last, she gave a little troubled sigh, and looked at Bell, standing before her picture. Bell answered the look by an extremely brief question. “Well?” “Bell,” said the other girl, in a very low voice,...