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    The Portrait

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    Chapter 8
    Previous Chapter
    It was at Mrs. Mellish's, one Sunday afternoon last spring. We were
    talking over George Lillo's portraits--a collection of them was being
    shown at Durand-Ruel's--and a pretty woman had emphatically declared:--

    "Nothing on earth would induce me to sit to him!"

    There was a chorus of interrogations.

    "Oh, because--he makes people look so horrid; the way one looks on board
    ship, or early in the morning, or when one's hair is out of curl and one
    knows it. I'd so much rather be done by Mr. Cumberton!"

    Little Cumberton, the fashionable purveyor of rose-water pastels, stroked
    his moustache to hide a conscious smile.

    "Lillo is a genius--that we must all admit," he said indulgently, as
    though condoning a friend's weakness; "but he has an unfortunate
    temperament. He has been denied the gift--so precious to an artist--of
    perceiving the ideal. He sees only the defects of his sitters; one might
    almost fancy that he takes a morbid pleasure in exaggerating their weak
    points, in painting them on their worst days; but I honestly believe he
    can't help himself. His peculiar limitations prevent his seeing anything
    but the most prosaic side of human nature--

    "'_A primrose by the river's brim
    A yellow primrose is to him,
    And it is nothing more._'"

    Cumberton looked round to surprise an order in the eye of the lady whose
    sentiments he had so deftly interpreted, but poetry always made her
    uncomfortable, and her nomadic attention had strayed to other topics. His
    glance was tripped up by Mrs. Mellish.

    "Limitations? But, my dear man, it's because he hasn't any limitations,
    because he doesn't wear the portrait-painter's conventional blinders, that
    we're all so afraid of being painted by him. It's not because he sees only
    one aspect of his sitters, it's because he selects the real, the typical
    one, as instinctively as a detective collars a pick-pocket in a crowd. If
    there's nothing to paint--no real person--he paints nothing; look at the
    sumptuous emptiness of his portrait of Mrs. Guy Awdrey"--("Why," the
    pretty woman perplexedly interjected, "that's the only nice picture he
    ever did!") "If there's one positive trait in a negative whole he brings
    it out in spite of himself; if it isn't a nice trait, so much the worse
    for the sitter; it isn't Lillo's fault: he's no more to blame than a
    mirror. Your other painters do the surface--he does the depths; they paint
    the ripples on the pond, he drags the bottom. He makes flesh seem as
    fortuitous as clothes. When I look at his portraits of fine ladies in
    pearls and velvet I seem to see a little naked cowering wisp of a soul
    sitting beside the big splendid body, like a poor relation in the darkest
    corner of an opera-box. But look at his pictures of really great people--
    how great _they_ are! There's plenty of ideal there. Take his Professor
    Clyde; how clearly the man's history is written in those broad steady
    strokes of the brush: the hard work, the endless patience, the fearless
    imagination of the great _savant_! Or the picture of Mr. Domfrey--the man
    who has felt beauty without having the power to create it. The very brush-
    work expresses the difference between the two; the crowding of nervous
    tentative lines, the subtler gradations of color, somehow convey a
    suggestion of dilettantism. You feel what a delicate instrument the man
    is, how every sense has been tuned to the finest responsiveness." Mrs.
    Mellish paused, blushing a little at the echo of her own eloquence. "My
    advice is, don't let George Lillo paint you if you don't want to be found
    out--or to find yourself out. That's why I've never let him do _me_; I'm
    waiting for the day of judgment," she ended with a laugh.

    Every one but the pretty woman, whose eyes betrayed a quivering impatience
    to discuss clothes, had listened attentively to Mrs. Mellish. Lillo's
    presence in New York--he had come over from Paris for the first time in
    twelve years, to arrange the exhibition of his pictures--gave to the
    analysis of his methods as personal a flavor as though one had been
    furtively dissecting his domestic relations. The analogy, indeed, is not
    unapt; for in Lillo's curiously detached existence it is difficult to
    figure any closer tie than that which unites him to his pictures. In this
    light, Mrs. Mellish's flushed harangue seemed not unfitted to the
    trivialities of the tea hour, and some one almost at once carried on the
    argument by saying:--"But according to your theory--that the significance
    of his work depends on the significance of the sitter--his portrait of
    Vard ought to be a master-piece; and it's his biggest failure."

    Alonzo Vard's suicide--he killed himself, strangely enough, the day that
    Lillo's pictures were first shown--had made his portrait the chief feature
    of the exhibition. It had been painted ten or twelve years earlier, when
    the terrible "Boss" was at the height of his power; and if ever man
    presented a type to stimulate such insight as Lillo's, that man was Vard;
    yet the portrait was a failure. It was magnificently composed; the
    technique was dazzling; but the face had been--well, expurgated. It was
    Vard as Cumberton might have painted him--a common man trying to look at
    ease in a good coat. The picture had never before been exhibited, and
    there was a general outcry of disappointment. It wasn't only the critics
    and the artists who grumbled. Even the big public, which had gaped and
    shuddered at Vard, revelling in his genial villany, and enjoying in his
    death that succumbing to divine wrath which, as a spectacle, is next best
    to its successful defiance--even the public felt itself defrauded. What
    had the painter done with their hero? Where was the big sneering
    domineering face that figured so convincingly in political cartoons and
    patent-medicine advertisements, on cigar-boxes and electioneering posters?
    They had admired the man for looking his part so boldly; for showing the
    undisguised blackguard in every line of his coarse body and cruel face;
    the pseudo-gentleman of Lillo's picture was a poor thing compared to the
    real Vard. It had been vaguely expected that the great boss's portrait
    would have the zest of an incriminating document, the scandalous
    attraction of secret memoirs; and instead, it was as insipid as an
    obituary. It was as though the artist had been in league with his sitter,
    had pledged himself to oppose to the lust for post-mortem "revelations" an
    impassable blank wall of negation. The public was resentful, the critics
    were aggrieved. Even Mrs. Mellish had to lay down her arms.

    "Yes, the portrait of Vard _is_ a failure," she admitted, "and I've never
    known why. If he'd been an obscure elusive type of villain, one could
    understand Lillo's missing the mark for once; but with that face from the
    pit--!"

    She turned at the announcement of a name which our discussion had drowned,
    and found herself shaking hands with Lillo.

    The pretty woman started and put her hands to her curls; Cumberton dropped
    a condescending eyelid (he never classed himself by recognizing degrees in
    the profession), and Mrs. Mellish, cheerfully aware that she had been
    overheard, said, as she made room for Lillo--

    "I wish you'd explain it."

    Lillo smoothed his beard and waited for a cup of tea. Then, "Would there
    be any failures," he said, "if one could explain them?"

    "Ah, in some cases I can imagine it's impossible to seize the type--or to
    say why one has missed it. Some people are like daguerreotypes; in certain
    lights one can't see them at all. But surely Vard was obvious enough. What
    I want to know is, what became of him? What did you do with him? How did
    you manage to shuffle him out of sight?"

    "It was much easier than you think. I simply missed an opportunity--"

    "That a sign-painter would have seen!"

    "Very likely. In fighting shy of the obvious one may miss the
    significant--"

    "--And when I got back from Paris," the pretty woman was heard to wail, "I
    found all the women here were wearing the very models I'd brought home
    with me!"

    Mrs. Mellish, as became a vigilant hostess, got up and shuffled her
    guests; and the question of Yard's portrait was dropped.

    I left the house with Lillo; and on the way down Fifth Avenue, after one
    of his long silences, he suddenly asked:

    "Is that what is generally said of my picture of Vard? I don't mean in the
    newspapers, but by the fellows who know?"

    I said it was.

    He drew a deep breath. "Well," he said, "it's good to know that when one
    tries to fail one can make such a complete success of it."

    "Tries to fail?"

    "Well, no; that's not quite it, either; I didn't want to make a failure of
    Vard's picture, but I did so deliberately, with my eyes open, all the
    same. It was what one might call a lucid failure."

    "But why--?"

    "The why of it is rather complicated. I'll tell you some time--" He
    hesitated. "Come and dine with me at the club by and by, and I'll tell you
    afterwards. It's a nice morsel for a psychologist."

    At dinner he said little; but I didn't mind that. I had known him for
    years, and had always found something soothing and companionable in his
    long abstentions from speech. His silence was never unsocial; it was bland
    as a natural hush; one felt one's self included in it, not left out. He
    stroked his beard and gazed absently at me; and when we had finished our
    coffee and liqueurs we strolled down to his studio.

    At the studio--which was less draped, less posed, less consciously
    "artistic" than those of the smaller men--he handed me a cigar, and fell
    to smoking before the fire. When he began to talk it was of indifferent
    matters, and I had dismissed the hope of hearing more of Vard's portrait,
    when my eye lit on a photograph of the picture. I walked across the room
    to look at it, and Lillo presently followed with a light.

    "It certainly is a complete disguise," he muttered over my shoulder; then
    he turned away and stooped to a big portfolio propped against the wall.

    "Did you ever know Miss Vard?" he asked, with his head in the portfolio;
    and without waiting for my answer he handed me a crayon sketch of a girl's
    profile.

    I had never seen a crayon of Lillo's, and I lost sight of the sitter's
    personality in the interest aroused by this new aspect of the master's
    complex genius. The few lines--faint, yet how decisive!--flowered out of
    the rough paper with the lightness of opening petals. It was a mere hint
    of a picture, but vivid as some word that wakens long reverberations in
    the memory.

    I felt Lillo at my shoulder again.

    "You knew her, I suppose?"

    I had to stop and think. Why, of course I'd known her: a silent handsome
    girl, showy yet ineffective, whom I had seen without seeing the winter
    that society had capitulated to Vard. Still looking at the crayon, I tried
    to trace some connection between the Miss Vard I recalled and the grave
    young seraph of Lillo's sketch. Had the Vards bewitched him? By what
    masterstroke of suggestion had he been beguiled into drawing the terrible
    father as a barber's block, the commonplace daughter as this memorable
    creature?

    "You don't remember much about her? No, I suppose not. She was a quiet
    girl and nobody noticed her much, even when--" he paused with a smile--
    "you were all asking Vard to dine."

    I winced. Yes, it was true--we had all asked Vard to dine. It was some
    comfort to think that fate had made him expiate our weakness.

    Lillo put the sketch on the mantel-shelf and drew his arm-chair to the
    fire.

    "It's cold to-night. Take another cigar, old man; and some whiskey? There
    ought to be a bottle and some glasses in that cupboard behind you... help
    yourself..."

    II

    About Vard's portrait? (he began.) Well, I'll tell you. It's a queer
    story, and most people wouldn't see anything in it. My enemies might say
    it was a roundabout way of explaining a failure; but you know better than
    that. Mrs. Mellish was right. Between me and Vard there could be no
    question of failure. The man was made for me--I felt that the first time I
    clapped eyes on him. I could hardly keep from asking him to sit to me on
    the spot; but somehow one couldn't ask favors of the fellow. I sat still
    and prayed he'd come to me, though; for I was looking for something big
    for the next Salon. It was twelve years ago--the last time I was out
    ere--and I was ravenous for an opportunity. I had the feeling--do you
    writer-fellows have it too?--that there was something tremendous in me if
    it could only be got out; and I felt Vard was the Moses to strike the
    rock. There were vulgar reasons, too, that made me hunger for a victim.
    I'd been grinding on obscurely for a good many years, without gold or
    glory, and the first thing of mine that had made a noise was my picture of
    Pepita, exhibited the year before. There'd been a lot of talk about that,
    orders were beginning to come in, and I wanted to follow it up with a
    rousing big thing at the next Salon. Then the critics had been insinuating
    that I could do only Spanish things--I suppose I _had_ overdone the
    castanet business; it's a nursery-disease we all go through--and I wanted
    to show that I had plenty more shot in my locker. Don't you get up every
    morning meaning to prove you're equal to Balzac or Thackeray? That's the
    way I felt then; _only give me a chance_, I wanted to shout out to them;
    and I saw at once that Vard was my chance.

    I had come over from Paris in the autumn to paint Mrs. Clingsborough, and
    I met Vard and his daughter at one of the first dinners I went to. After
    that I could think of nothing but that man's head. What a type! I raked up
    all the details of his scandalous history; and there were enough to fill
    an encyclopaedia. The papers were full of him just then; he was mud from
    head to foot; it was about the time of the big viaduct steal, and
    irreproachable citizens were forming ineffectual leagues to put him down.
    And all the time one kept meeting him at dinners--that was the beauty of
    it! Once I remember seeing him next to the Bishop's wife; I've got a
    little sketch of that duet somewhere... Well, he was simply magnificent, a
    born ruler; what a splendid condottiere he would have made, in gold armor,
    with a griffin grinning on his casque! You remember those drawings of
    Leonardo's, where the knight's face and the outline of his helmet combine
    in one monstrous saurian profile? He always reminded me of that...

    But how was I to get at him?--One day it occurred to me to try talking to
    Miss Vard. She was a monosyllabic person, who didn't seem to see an inch
    beyond the last remark one had made; but suddenly I found myself blurting
    out, "I wonder if you know how extraordinarily paintable your father is?"
    and you should have seen the change that came over her. Her eyes lit up
    and she looked--well, as I've tried to make her look there. (He glanced up
    at the sketch.) Yes, she said, _wasn't_ her father splendid, and didn't I
    think him one of the handsomest men I'd ever seen?

    That rather staggered me, I confess; I couldn't think her capable of
    joking on such a subject, yet it seemed impossible that she should be
    speaking seriously. But she was. I knew it by the way she looked at Vard,
    who was sitting opposite, his wolfish profile thrown back, the shaggy
    locks tossed off his narrow high white forehead. The girl worshipped him.

    She went on to say how glad she was that I saw him as she did. So many
    artists admired only regular beauty, the stupid Greek type that was made
    to be done in marble; but she'd always fancied from what she'd seen of my
    work--she knew everything I'd done, it appeared--that I looked deeper,
    cared more for the way in which faces are modelled by temperament and
    circumstance; "and of course in that sense," she concluded, "my father's
    face _is_ beautiful."

    This was even more staggering; but one couldn't question her divine
    sincerity. I'm afraid my one thought was to take advantage of it; and I
    let her go on, perceiving that if I wanted to paint Vard all I had to do
    was to listen.

    She poured out her heart. It was a glorious thing for a girl, she said,
    wasn't it, to be associated with such a life as that? She felt it so
    strongly, sometimes, that it oppressed her, made her shy and stupid. She
    was so afraid people would expect her to live up to _him_. But that was
    absurd, of course; brilliant men so seldom had clever children. Still--did
    I know?--she would have been happier, much happier, if he hadn't been in
    public life; if he and she could have hidden themselves away somewhere,
    with their books and music, and she could have had it all to herself: his
    cleverness, his learning, his immense unbounded goodness. For no one knew
    how good he was; no one but herself. Everybody recognized his cleverness,
    his brilliant abilities; even his enemies had to admit his extraordinary
    intellectual gifts, and hated him the worse, of course, for the admission;
    but no one, no one could guess what he was at home. She had heard of great
    men who were always giving gala performances in public, but whose wives
    and daughters saw only the empty theatre, with the footlights out and the
    scenery stacked in the wings; but with him it was just the other way:
    wonderful as he was in public, in society, she sometimes felt he wasn't
    doing himself justice--he was so much more wonderful at home. It was like
    carrying a guilty secret about with her: his friends, his admirers, would
    never forgive her if they found out that he kept all his best things for
    _her!_

    I don't quite know what I felt in listening to her. I was chiefly taken up
    with leading her on to the point I had in view; but even through my
    personal preoccupation I remember being struck by the fact that, though
    she talked foolishly, she didn't talk like a fool. She was not stupid; she
    was not obtuse; one felt that her impassive surface was alive with
    delicate points of perception; and this fact, coupled with her crystalline
    frankness, flung me back on a startled revision of my impressions of her
    father. He came out of the test more monstrous than ever, as an ugly image
    reflected in clear water is made uglier by the purity of the medium. Even
    then I felt a pang at the use to which fate had put the mountain-pool of
    Miss Vard's spirit, and an uneasy sense that my own reflection there was
    not one to linger over. It was odd that I should have scrupled to deceive,
    on one small point, a girl already so hugely cheated; perhaps it was the
    completeness of her delusion that gave it the sanctity of a religious
    belief. At any rate, a distinct sense of discomfort tempered the
    satisfaction with which, a day or two later, I heard from her that her
    father had consented to give me a few sittings.

    I'm afraid my scruples vanished when I got him before my easel. He was
    immense, and he was unexplored. From my point of view he'd never been done
    before--I was his Cortez. As he talked the wonder grew. His daughter came
    with him, and I began to think she was right in saying that he kept his
    best for her. It wasn't that she drew him out, or guided the conversation;
    but one had a sense of delicate vigilance, hardly more perceptible than
    one of those atmospheric influences that give the pulses a happier turn.
    She was a vivifying climate. I had meant to turn the talk to public
    affairs, but it slipped toward books and art, and I was faintly aware of
    its being kept there without undue pressure. Before long I saw the value
    of the diversion. It was easy enough to get at the political Vard: the
    other aspect was rarer and more instructive. His daughter had described
    him as a scholar. He wasn't that, of course, in any intrinsic sense: like
    most men of his type he had gulped his knowledge standing, as he had
    snatched his food from lunch-counters; the wonder of it lay in his
    extraordinary power of assimilation. It was the strangest instance of a
    mind to which erudition had given force and fluency without culture; his
    learning had not educated his perceptions: it was an implement serving to
    slash others rather than to polish himself. I have said that at first
    sight he was immense; but as I studied him he began to lessen under my
    scrutiny. His depth was a false perspective painted on a wall.

    It was there that my difficulty lay: I had prepared too big a canvas for
    him. Intellectually his scope was considerable, but it was like the
    digital reach of a mediocre pianist--it didn't make him a great musician.
    And morally he wasn't bad enough; his corruption wasn't sufficiently
    imaginative to be interesting. It was not so much a means to an end as a
    kind of virtuosity practised for its own sake, like a highly-developed
    skill in cannoning billiard balls. After all, the point of view is what
    gives distinction to either vice or virtue: a morality with ground-glass
    windows is no duller than a narrow cynicism.

    His daughter's presence--she always came with him--gave unintentional
    emphasis to these conclusions; for where she was richest he was naked. She
    had a deep-rooted delicacy that drew color and perfume from the very
    centre of her being: his sentiments, good or bad, were as detachable as
    his cuffs. Thus her nearness, planned, as I guessed, with the tender
    intention of displaying, elucidating him, of making him accessible in
    detail to my dazzled perceptions--this pious design in fact defeated
    itself. She made him appear at his best, but she cheapened that best by
    her proximity. For the man was vulgar to the core; vulgar in spite of his
    force and magnitude; thin, hollow, spectacular; a lath-and-plaster bogey--

    Did she suspect it? I think not--then. He was wrapped in her impervious
    faith... The papers? Oh, their charges were set down to political rivalry;
    and the only people she saw were his hangers-on, or the fashionable set
    who had taken him up for their amusement. Besides, she would never have
    found out in that way: at a direct accusation her resentment would have
    flamed up and smothered her judgment. If the truth came to her, it would
    come through knowing intimately some one--different; through--how shall I
    put it?--an imperceptible shifting of her centre of gravity. My besetting
    fear was that I couldn't count on her obtuseness. She wasn't what is
    called clever; she left that to him; but she was exquisitely good; and now
    and then she had intuitive felicities that frightened me. Do I make you
    see her? We fellows can explain better with the brush; I don't know how to
    mix my words or lay them on. She wasn't clever; but her heart thought--
    that's all I can say...

    If she'd been stupid it would have been easy enough: I could have painted
    him as he was. Could have? I did--brushed the face in one day from memory;
    it was the very man! I painted it out before she came: I couldn't bear to
    have her see it. I had the feeling that I held her faith in him in my
    hands, carrying it like a brittle object through a jostling mob; a hair's-
    breadth swerve and it was in splinters.

    When she wasn't there I tried to reason myself out of these subtleties. My
    business was to paint Vard as he was--if his daughter didn't mind his
    looks, why should I? The opportunity was magnificent--I knew that by the
    way his face had leapt out of the canvas at my first touch. It would have
    been a big thing. Before every sitting I swore to myself I'd do it; then
    she came, and sat near him, and I--didn't.

    I knew that before long she'd notice I was shirking the face. Vard himself
    took little interest in the portrait, but she watched me closely, and one
    day when the sitting was over she stayed behind and asked me when I meant
    to begin what she called "the likeness." I guessed from her tone that the
    embarrassment was all on my side, or that if she felt any it was at having
    to touch a vulnerable point in my pride. Thus far the only doubt that
    troubled her was a distrust of my ability. Well, I put her off with any
    rot you please: told her she must trust me, must let me wait for the
    inspiration; that some day the face would come; I should see it suddenly--
    feel it under my brush... The poor child believed me: you can make a woman
    believe almost anything she doesn't quite understand. She was abashed at
    her philistinism, and begged me not to tell her father--he would make such
    fun of her!

    After that--well, the sittings went on. Not many, of course; Vard was too
    busy to give me much time. Still, I could have done him ten times over.
    Never had I found my formula with such ease, such assurance; there were no
    hesitations, no obstructions--the face was _there_, waiting for me; at
    times it almost shaped itself on the canvas. Unfortunately Miss Vard was
    there too ...

    All this time the papers were busy with the viaduct scandal. The outcry
    was getting louder. You remember the circumstances? One of Vard's
    associates--Bardwell, wasn't it?--threatened disclosures. The rival
    machine got hold of him, the Independents took him to their bosom, and the
    press shrieked for an investigation. It was not the first storm Vard had
    weathered, and his face wore just the right shade of cool vigilance; he
    wasn't the man to fall into the mistake of appearing too easy. His
    demeanor would have been superb if it had been inspired by a sense of his
    own strength; but it struck me rather as based on contempt for his
    antagonists. Success is an inverted telescope through which one's enemies
    are apt to look too small and too remote. As for Miss Vard, her serenity
    was undiminished; but I half-detected a defiance in her unruffled
    sweetness, and during the last sittings I had the factitious vivacity of a
    hostess who hears her best china crashing.

    One day it _did_ crash: the head-lines of the morning papers shouted the
    catastrophe at me:--"The Monster forced to disgorge--Warrant out against
    Vard--Bardwell the Boss's Boomerang"--you know the kind of thing.

    When I had read the papers I threw them down and went out. As it happened,
    Vard was to have given me a sitting that morning; but there would have
    been a certain irony in waiting for him. I wished I had finished the
    picture--I wished I'd never thought of painting it. I wanted to shake off
    the whole business, to put it out of my mind, if I could: I had the
    feeling--I don't know if I can describe it--that there was a kind of
    disloyalty to the poor girl in my even acknowledging to myself that I knew
    what all the papers were howling from the housetops....

    I had walked for an hour when it suddenly occurred to me that Miss Vard
    might, after all, come to the studio at the appointed hour. Why should
    she? I could conceive of no reason; but the mere thought of what, if she
    _did_ come, my absence would imply to her, sent me bolting back to Twelfth
    Street. It was a presentiment, if you like, for she was there.

    As she rose to meet me a newspaper slipped from her hand: I'd been fool
    enough, when I went out, to leave the damned things lying all over the
    place.

    I muttered some apology for being late, and she said reassuringly:

    "But my father's not here yet."

    "Your father--?" I could have kicked myself for the way I bungled it!

    "He went out very early this morning, and left word that he would meet me
    here at the usual hour."

    She faced me, with an eye full of bright courage, across the newspaper
    lying between us.

    "He ought to be here in a moment now--he's always so punctual. But my
    watch is a little fast, I think."

    She held it out to me almost gaily, and I was just pretending to compare
    it with mine, when there was a smart rap on the door and Vard stalked in.
    There was always a civic majesty in his gait, an air of having just
    stepped off his pedestal and of dissembling an oration in his umbrella;
    and that day he surpassed himself. Miss Vard had turned pale at the knock;
    but the mere sight of him replenished her veins, and if she now avoided my
    eye, it was in mere pity for my discomfiture.

    I was in fact the only one of the three who didn't instantly "play up";
    but such virtuosity was inspiring, and by the time Vard had thrown off his
    coat and dropped into a senatorial pose, I was ready to pitch into my
    work. I swore I'd do his face then and there; do it as she saw it; she sat
    close to him, and I had only to glance at her while I painted--

    Vard himself was masterly: his talk rattled through my hesitations and
    embarrassments like a brisk northwester sweeping the dry leaves from its
    path. Even his daughter showed the sudden brilliance of a lamp from which
    the shade has been removed. We were all surprisingly vivid--it felt,
    somehow, as though we were being photographed by flash-light...

    It was the best sitting we'd ever had--but unfortunately it didn't last
    more than ten minutes.

    It was Vard's secretary who interrupted us--a slinking chap called
    Cornley, who burst in, as white as sweetbread, with the face of a
    depositor who hears his bank has stopped payment. Miss Vard started up as
    he entered, but caught herself together and dropped back into her chair.
    Vard, who had taken out a cigarette, held the tip tranquilly to his fusee.

    "You're here, thank God!" Cornley cried. "There's no time to be lost, Mr.
    Vard. I've got a carriage waiting round the corner in Thirteenth Street--"

    Vard looked at the tip of his cigarette.

    "A carriage in Thirteenth Street? My good fellow, my own brougham is at
    the door."

    "I know, I know--but _they_'re there too, sir; or they will be, inside of
    a minute. For God's sake, Mr. Vard, don't trifle!--There's a way out by
    Thirteenth Street, I tell you"--

    "Bardwell's myrmidons, eh?" said Vard. "Help me on with my overcoat,
    Cornley, will you?"

    Cornley's teeth chattered.

    "Mr. Vard, your best friends ... Miss Vard, won't you speak to your
    father?" He turned to me haggardly;--"We can get out by the back way?"

    I nodded.

    Vard stood towering--in some infernal way he seemed literally to rise to
    the situation--one hand in the bosom of his coat, in the attitude of
    patriotism in bronze. I glanced at his daughter: she hung on him with a
    drowning look. Suddenly she straightened herself; there was something of
    Vard in the way she faced her fears--a kind of primitive calm we drawing-
    room folk don't have. She stepped to him and laid her hand on his arm. The
    pause hadn't lasted ten seconds.

    "Father--" she said.

    Vard threw back his head and swept the studio with a sovereign eye.

    "The back way, Mr. Vard, the back way," Cornley whimpered. "For God's
    sake, sir, don't lose a minute."

    Vard transfixed his abject henchman.

    "I have never yet taken the back way," he enunciated; and, with a gesture
    matching the words, he turned to me and bowed.

    "I regret the disturbance"--and he walked to the door. His daughter was at
    his side, alert, transfigured.

    "Stay here, my dear."

    "Never!"

    They measured each other an instant; then he drew her arm in his. She
    flung back one look at me--a paean of victory--and they passed out with
    Cornley at their heels.

    I wish I'd finished the face then; I believe I could have caught something
    of the look she had tried to make me see in him. Unluckily I was too
    excited to work that day or the next, and within the week the whole
    business came out. If the indictment wasn't a put-up job--and on that I
    believe there were two opinions--all that followed was. You remember the
    farcical trial, the packed jury, the compliant judge, the triumphant
    acquittal?... It's a spectacle that always carries conviction to the
    voter: Vard was never more popular than after his "exoneration"...

    I didn't see Miss Vard for weeks. It was she who came to me at length;
    came to the studio alone, one afternoon at dusk. She had--what shall I
    say?--a veiled manner; as though she had dropped a fine gauze between us.
    I waited for her to speak.

    She glanced about the room, admiring a hawthorn vase I had picked up at
    auction. Then, after a pause, she said:

    "You haven't finished the picture?"

    "Not quite," I said.

    She asked to see it, and I wheeled out the easel and threw the drapery
    back.

    "Oh," she murmured, "you haven't gone on with the face?"

    I shook my head.

    She looked down on her clasped hands and up at the picture; not once at
    me.

    "You--you're going to finish it?"

    "Of course," I cried, throwing the revived purpose into my voice. By God,
    I would finish it!

    The merest tinge of relief stole over her face, faint as the first thin
    chirp before daylight.

    "Is it so very difficult?" she asked tentatively.

    "Not insuperably, I hope."

    She sat silent, her eyes on the picture. At length, with an effort, she
    brought out: "Shall you want more sittings?"

    For a second I blundered between two conflicting conjectures; then the
    truth came to me with a leap, and I cried out, "No, no more sittings!"

    She looked up at me then for the first time; looked too soon, poor child;
    for in the spreading light of reassurance that made her eyes like a rainy
    dawn, I saw, with terrible distinctness, the rout of her disbanded hopes.
    I knew that she knew ...

    I finished the picture and sent it home within a week. I tried to make it
    --what you see.--Too late, you say? Yes--for her; but not for me or for
    the public. If she could be made to feel, for a day longer, for an hour
    even, that her miserable secret _was_ a secret--why, she'd made it seem
    worth while to me to chuck my own ambitions for that ...

    * * * * *

    Lillo rose, and taking down the sketch stood looking at it in silence.

    After a while I ventured, "And Miss Vard--?"

    He opened the portfolio and put the sketch back, tying the strings with
    deliberation. Then, turning to relight his cigar at the lamp, he said:
    "She died last year, thank God."
    Chapter 8
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