is easier to bear disappointment going down," she said, seriously; "if two or three artists had refused me on the first and second floors, my legs would not have carried me up very far."
"Bad logic," he commented. "We mount by experience, using our wrecked hopes as footholds."
"You don't know how much a girl can endure. There comes a time-after years of steady descent—when misfortune and disappointment become endurable; when hope deferred no longer sickens. It is in rising toward better things that disappointments hurt most cruelly."
He turned his head in surprise; then went on painting:
"Your philosophy is the philosophy of submission."
"Do you call a struggle of years, submission?"
"But it was giving up after all—acquiescence, despondency, a laissez faire policy."
"One may tire of fighting."
"One may. Another may not."
"I think you have never had to fight very hard."
He turned his head abruptly; after a moment's silent survey of her, he resumed his painting with a sharp, impersonal glance before every swift and decisive brush stroke:
"No; I have never had to fight, Miss West…. It was keen of you to recognise it. I have never had to fight at all. Things come easily to me—things have a habit of coming my way…. I suppose I'm not exactly the man to lecture anybody on the art of fighting fortune. She's always been decent to me…. Sometimes I'm afraid—I have an instinct that she's too friendly…. And it troubles me. Do you understand what I mean?"
"Yes."
He looked up at her: "Are you sure?"
"I think so. I have been watching you painting. I never imagined anybody could draw so swiftly, so easily—paint so surely, so accurately—that every brush stroke could be so—so significant, so decisive…. Is it not unusual? And is not that what is called facility?"
"Lord in Heaven!" he said; "what kind of a girl am I dealing with?—or what kind of a girl is dealing so unmercifully with me?"
"I—I didn't mean—"
"Yes, you did. Those very lovely and wonderfully shaped eyes of yours are not entirely for ornament. Inside that pretty head there's an apparatus designed for thinking; and it isn't idle."
He laughed gaily, a trifle defiantly:
"You've said it. You've found the fly in the amber. I'm cursed with facility. Worse still it gives me keenest pleasure to employ it. It does scare me occasionally—has for years—makes me miserable at intervals—fills me full of all kinds of fears and doubts."
He turned toward her, standing on his ladder, the big palette curving up over his left shoulder, a wet brush extended in his right hand:
"What shall I do!" he exclaimed so earnestly that she sat up straight, startled, forgetting her pose. "Ought I to stifle the vigour, the energy, the restless desire that drives me to express myself—that will not tolerate the inertia of calculation and ponderous reflection? Ought I to check myself, consider, worry, entangle myself in psychologies, seek for subtleties where none exist—split hairs, relapse into introspective philosophy when my fingers itch for a lump of charcoal and every colour on my set palette yells at me to be about my business?"
He passed the flat tip of his wet brush through the mass of rags in his left hand with a graceful motion like one unsheathing a sword:
"I tell you I do the things which I do, as easily, as naturally, as happily as any fool of a dicky-bird does his infernal twittering on an April morning. God knows whether there's anything in my work or in his twitter; but neither he nor I are likely to improve our output by pondering and cogitation…. Please resume the pose."
She did so, her dark young eyes on him; and he continued painting and talking in his clear, rapid, decisive manner:
"My name is Louis Neville. They call me Kelly—my friends do," he added, laughing. "Have you ever seen any of my work?"
"Yes."
He laughed again: "That's more soothing. However, I suppose you saw that big canvas of mine for the ceiling of the Metropolitan Museum's new northwest wing. The entire town saw it."
"Yes, I saw it."
"Did you care for it?"
She had cared for it too intensely to give him any adequate answer. Never before had her sense of colour and form and beauty been so exquisitely satisfied by the painted magic of any living painter. So this was the man who had enveloped her, swayed her senses, whirled her upward into his ocean of limpid light! This was the man who had done that miracle before which, all day long, crowds of the sober, decent, unimaginative—the solid, essentials of the nation—had lingered fascinated! This was the man—across there on a stepladder. And he was evidently not yet thirty; and his name was Neville and his friends called him Kelly.
"Yes," she said, diffidently, "I cared for it."
"Really?"
He caught her eye, laughed, and went on with his work.
"The critics were savage," he said. "Lord! It hurts, too. But I've simply got to be busy. What good would it do me to sit down and draw casts with a thin, needle-pointed stick of hard charcoal. Not that they say I can't draw. They admit that I can. They admit that I can paint, too."
He laughed, stretched his arms:
"Draw! A blank canvas sets me mad. When I look at one I feel like covering it with a thousand figures twisted into every intricacy and difficulty of foreshortening! I wish I were like that Hindu god with a dozen arms; and even then I couldn't paint fast enough to satisfy what my eyes and brain have already evoked upon an untouched canvas…. It's a sort of intoxication that gets hold of me; I'm perfectly cool, too, which seems a paradox but isn't. And all the while, inside me, is a constant, hushed kind of laughter, bubbling, which accompanies every brush stroke with an 'I told you so!'—if you know what I'm trying to say—do you?"
"N-not exactly. But I suppose you mean that you are self-confident."
"Lord! Listen to this girl say in a dozen words what I'm trying to say in a volume so that it won't scare me! Yes! That's it. I am confident. And it's that self-confidence which sometimes scares me half to death."
From his ladder he pointed with his brush to the preliminary sketch that faced her, touching figure after figure:
"I'm going to draw them in, now," he said; "first this one. Can you catch the pose? It's going to be hard; I'll block up your heels, later; that's it! Stand up straight, stretch as though the next moment you were going to rise on tiptoe and float upward without an effort—"
He was working like lightning in long, beautiful, clean outline strokes, brushed here and there with shadow shapes and masses. And time flew at first, then went slowly, more slowly, until it dragged at her delicate body and set every nerve aching.
"I—may I rest a moment?"
"Sure thing!" he said, cordially, laying aside palette and brushes. "Come on, Miss West, and we'll have luncheon."
She hastily swathed herself in the wool robe.
"Do
