It was three days after the incidents just related when an automobile from Fairlands Heights stopped at the home of Aaron King and the novelist.

Mrs. Taine, dressed in black and heavily veiled, went, alone, to the house, where Yee Kee appeared in answer to her ring.

There was no one at home, the Chinaman said. He did not know where the artist was. He had gone off somewhere with Mr. Lagrange and the dog. Perhaps they would return in a few minutes; perhaps not until dinner time.

Mrs. Taine was exceedingly anxious to see Mr. King. She was going away, and must see him, if possible, before she left. She would come in, and, if Yee Kee would get her pen and paper, would write a little note, explaining--in case she should miss him. The Chinaman silently placed the writing material before her, and disappeared.

Before sitting down to her letter, the woman paced the floor restlessly, in nervous agitation. Her face, when she had thrown back the veil, appeared old and worn, with dark circles under the eyes, and a drawn look to the weary, downward droop of the lips. As she moved about the room, nervously fingering the books and trifles upon the table or the mantle, she seemed beside herself with anxiety. She went to the window to stand looking out as if hoping for the return of the artist. She went to the open door of his bedroom, her hands clenched, her limbs trembling, her face betraying the agony of her mind.

With Louise, she was leaving that evening, at four o'clock, for the East--with the body of her husband. She could not go without seeing again the man whom, as Mr. Taine had rightly said, she loved--loved with the only love of which--because of her environment and life--she was capable. She still believed in her power over him whose passion she had besieged with all the lure of her physical beauty, but that which she had seen in his face as he had watched the girl musician the night of the dinner, filled her with fear. Presently, in her desperation, when the artist did not return, she seated herself at the table to put upon paper, as best she could, the things she had come to say.

Her letter finished, she looked at her watch. Calling the Chinaman, she asked for a key to the studio, explaining that she wished to see her picture. She still hoped for the artist's return and that her letter would not be necessary. She hoped, too, that in her portrait, which she had not yet seen, she might find some evidence of the painter's passion for her. She had not forgotten his saying that he would put upon the canvas what he thought of her, nor could she fail to recall his manner and her interpretation of it as he had worked upon the picture.

In the studio, she stood before the easel, scarce daring to draw the curtain. But, calling up in her mind the emotions and thoughts of the hours she had spent in that room alone with the artist, she was made bold by her reestablished belief in his passion and by her convictions that were founded upon her own desires. Under the stimulating influence of her thoughts, a flush of color stole into her cheeks, her eyes grew bright with the light of triumphant anticipation. With an eager hand she boldly drew aside the curtain.

The picture upon the easel was the artist's portrait of Sibyl Andres.

With an exclamation that was not unlike fear, Mrs. Taine drew back from the canvas. Looking at the beautiful painting,--in which the artist had pictured, with unconscious love and an almost religious fidelity, the spirit of the girl who was so like the flowers among which she stood,--the woman was moved by many conflicting emotions. Surprise, disappointment admiration, envy, jealousy, sadness, regret, and anger swept over her. Blinded by bitter tears, with a choking sob, in an agony of remorse and shame, she turned away her face from the gaze of those pure eyes. Then, as the flame of her passion withered her shame, hot rage dried her tears, and she sprang forward with an animal-like fierceness, to destroy the picture. But, even as she put forth her hand, she hesitated and drew back, afraid. As she stood thus in doubt--halting between her impulse and her fear--a sound at the door behind her drew her attention. She turned to face the beautiful original of the portrait Instantly the woman of the world had herself perfectly in hand.

Sibyl Andres drew back with an embarrassed, "I beg your pardon. I thought--" and would have fled.

But Mrs. Taine, with perfect cordiality, said quickly, "O how do you do, Miss Andres; come in."

She seemed so sincere in the welcome that was implied in her voice and manner; while her face, together with her somber garb of mourning, was so expressive of sadness and grief that the girl's gentle heart was touched. Going forward, with that natural, dignity that belongs to those whose minds and hearts are unsullied by habitual pretense of feeling and sham emotions, Sibyl spoke a few well chosen words of sympathy.

Mrs. Taine received the girl's expression of condolence with a manner that was perfect in its semblance of carefully controlled sorrow and grief, yet managed, skillfully, to suggest the wide social distance that separated the widow of Mr. Taine from the unknown, mountain girl. Then, as if courageously determined not to dwell upon her bereavement, she said, "I was just looking, again, at Mr. King's picture--for which you posed. It is beautiful, isn't it? He told me that you were an exceptionally clever model--quite the best he has ever had."

The girl--disarmed by her own genuine feeling of sympathy for the speaker--was troubled at something that seemed to lie beneath the kindly words of the experienced woman. "To me, it is beautiful," she returned doubtfully. "But, of course, I don't know. Mr. Lagrange thinks, though, that it is really a splendid portrait."

Mrs. Taine smiled with a confident air, as one might smile at a child. "Mr. Lagrange, my dear, is a famous novelist--but he really knows very little of pictures."

"Perhaps you are right," returned Sibyl, simply. "But the picture is not to be shown as a portrait of me, at all."

Again, that knowing smile. "So I understand, of course. Under the circumstances, you would scarcely expect it, would you?"

Sibyl, not in the least understanding what the woman meant, answered doubtfully, "No. I--I did not wish it shown as my portrait."

Mrs. Taine, studying the girl's face, became very earnest in her kindly interest; as if, moved out of the goodness of her heart, she stooped from her high place to advise and counsel one of her own sex, who was so wholly ignorant of the world. "I fear, my dear, that you know very little of artists and their methods."

To which the girl replied, "I never knew an artist before I met Mr. King, this summer, in the mountains."

Still watching her face closely, Mrs. Taine said, with gentle solicitude, "May I tell you something for your own good, Miss Andres?"

"Certainly, if you please, Mrs. Taine."

"An artist," said the older woman, carefully, with an air of positive knowledge, "must find the subjects for his pictures in life. As he goes about, he is constantly on the look-out for new faces or figures that are of interest to him--or, that may be used by him to make pictures of interest. The subjects--or, I should say, the people who pose for him--are nothing at all to the artist--aside from his picture, you see--no more than his paints and brushes and canvas. Often, they are professional models, whom he hires as one hires any sort of service, you know. Sometimes--" she paused as if hesitating, then continued gently--"sometimes they are people like yourself, who happen to appeal to his artistic fancy, and whom he can persuade to pose for him."

The girl's face was white. She stared at the woman with pleading, frightened dismay. She made a pitiful attempt to speak, but could not.

The older woman, watching her, continued, "Forgive me, dear child. I do not wish to hurt you. But Mr. King is _so_ careless. I told him he should be careful that you did not misunderstand his interest in you. But he laughed at me. He said that it was your _innocence_ that he wanted to paint, and cautioned me not to warn you until his picture was finished." She turned to look at the picture on the easel with the air of a critic. "He really _has_ caught it very well. Aaron--Mr. King is so good at that sort of thing. He never permits his models to know exactly what he is after, you see, but leads them, cleverly, to exhibit, unconsciously, the particular thing that he wishes to get into his picture."

When the tortured girl had been given time to grasp the full import of her words, the woman said again,--turning toward Sibyl, as she spoke, with a smiling air that was intended to show the intimacy between herself and the artist,--"Have you seen his portrait of me?"

"No," faltered Sibyl. "Mr. King told me not to look at it. It has always been covered when I have been in the studio."

Again, Mrs. Taine smiled, as though there was some reason, known only to herself and the painter, why he did not wish the girl to see the portrait. "And do you come to the studio often--alone as you came to-day?" she asked, still kind............