profit, and during the last ten years of his life was associated in that capacity with a London firm. Norbert, motherless from infancy and an only child, received his early education at expensive schools, but, showing little aptitude for study and much for use of the pencil, was taken by his father at twelve years old to Paris, and there set to work under a good art-teacher. At sixteen he went to Italy, where he remained for a couple of years. Then, on a journey in the East, the elder Franks died. Norbert returned to England, learnt that a matter of fifty pounds was all his heritage, and pluckily turned to the task of keeping himself alive. Herein his foreign sketch-books proved serviceable, but the struggle was long and hard before he could house himself decently, and get to serious work as a painter. Later on, he was wont to say that this poverty had been the best possible thing for him, its enforced abstinences having come just at the time when he had begun to "wallow"—his word for any sort of excess; and "wallowing" was undoubtedly a peril to which Norbert's temper particularly exposed him. Short commons made him, as they have made many another youth, sober and chaste, at all events in practice; and when he began to lift up his head, a little; when, at the age of three-and-twenty, he earned what seemed to him at first the luxurious income of a pound or so a week; when, in short, the inclination to "wallow" might again have taken hold upon him, it was his chance to fall in love so seriously and hopefully that all the better features of his character were drawn out, emphasized, and, as it seemed, for good and all established in predominance.
Not long after his first meeting with Warburton, he one day received, through the publishers of a book he had illustrated, a letter signed "Ralph Pomfret," the writer of which asked whether "Norbert Franks" was the son of an old friend of whom he had lost sight for many years. By way of answer, Franks called upon his correspondent, who lived in a pleasant little house at Ashtead, in Surrey; he found a man of something less than sixty, with a touch of eccentricity in his thoughts and ways, by whom he was hospitably received, and invited to return whenever it pleased him. It was not very long before Franks asked permission to make the Pomfrets acquainted with his friend Warburton, a step which proved entirely justifiable. Together or separately, the two young men were often to be seen at Ashtead, whither they were attracted not only by the kindly and amusing talk of Ralph Pomfret, but at least as much by the grace and sweetness and sympathetic intelligence of the mistress of the house, for whom both entertained respect and admiration.
One Sunday afternoon, Warburton, tempted as usual by the thought of tea and talk in that delightful little garden, went out to Ashtead, and, as he pushed open the gate, was confused and vexed at the sight of strangers; there, before the house, stood a middle-aged gentleman and a young girl, chatting with Mrs. Pomfret. He would have turned away and taken himself off in disappointment, but that the clank of the gate had attracted attention, and he had no choice but to move forward. The strangers proved to be Mrs. Pomfret's brother and his daughter; they had been spending half a year in the south of France, and were here for a day or two before returning to their home at Bath. When he had recovered his equanimity, Warburton became aware that the young lady was fair to look upon. Her age seemed about two-and-twenty; not very tall, she bore herself with perhaps a touch of conscious dignity and impressiveness; perfect health, a warm complexion, magnificent hair, eyes that shone with gaiety and good-nature, made of Rosamund Elvan a living picture such as Will Warburton had not often seen; he was shy in her presence, and by no means did himself justice that afternoon. His downcast eyes presently noticed that she wore shoes of a peculiar kind—white canvas with soles of plaited cord; in the course of conversation he learnt that these were a memento of the Basque country, about which Miss Elvan talked with a very pretty enthusiasm. Will went away, after all, in a dissatisfied mood. Girls were to him merely a source of disquiet. "If she be not fair for me—" was his ordinary thought; and he had never yet succeeded in persuading himself that any girl, fair or not, was at all likely to conceive the idea of devoting herself to his happiness. In this matter, an excessive modesty subdued him. It had something to do with his holding so much apart from general society.
On the evening of the next day, there was a thunderous knock at Warburton's flat, and in rushed Franks.
"You were at Ashtead yesterday," he cried.
"I was. What of that?"
"And you didn't come to tell me about the Elvans!"
"About Miss Elvan, I suppose you mean?" said Will.
"Well, yes, I do. I went there by chance this afternoon. The two men were away somewhere,—I found Mrs. Pomfret and that girl alone together. Never had such a delightful time in my life! But I say, Warburton, we must understand each other. Are you—do you—I mean, did she strike you particularly?"
Will threw back his head and laughed.
"You mean that?" shouted the other, joyously. "You really don't care—it's nothing to you?"
"Why, is it anything to you?"
"Anything? Rosamund Elvan is the most beautiful girl I ever saw, and the sweetest, and the brightest, and the altogether flooringest! And, by heaven and earth, I'm resolved to marry her!"
CHAPTER 5
As he sat musing, The Art World still in his hand, Warburton could hear his friend's voice ring out that audacious vow. He could remember, too, the odd little pang with which he heard it, a half spasm of altogether absurd jealousy. Of course the feeling did not last. There was no recurrence of it when he heard that Franks had again seen Miss Elvan before she left Ashtead; nor when he learnt that the artist had been spending a day or two at Bath. Less than a month after their first meeting, Franks won Rosamund's consent. He was frantic with exultation. Arriving with the news at ten o'clock one night, he shouted and maddened about Warburton's room until finally turned out at two in the morning. His circumstances being what they were, he could not hope for marriage yet awhile; he must work and wait. Never mind; see what work he would produce! Yet it appeared to his friend that all through the next twelvemonth he merely wasted time, such work as he did finish being of very slight value. He talked and talked, now of Rosamund, now of what he was going to do, until Warburton, losing patience, would cut him short with "Oh, go to Bath!"—an old cant phrase revived for its special appropriateness in this connection. Franks went to Bath far oftener than he could afford, money for his journey being generally borrowed from his long-enduring friend.
Rosamund herself had nothing, and but the smallest expectations should her father die. Two years before this, it had occurred to her that she should like to study art, and might possibly find in it a means of self-support. She was allowed to attend classes at South Kensington, but little came of this except a close friendship with a girl of her own age, by name Bertha Cross, who was following the art course with more serious purpose. When she had been betrothed for about a year, Rosamund chanced to spend a week in London at her friend's house, and this led to acquaintance between Franks and the Crosses. For a time, Warburton saw and heard less of the artist, who made confidantes of Mrs. Cross and her daughter, and spent many an evening with them talking, talking, talking about Rosamund; but this intimacy did not endure very long, Mrs. Cross being a person of marked peculiarities, which in the end overtried Norbert's temper. Only on the fourth story flat by Chelsea Bridge could the lover find that sort of sympathy which he really needed, solacing yet tonic. But for Warburton he would have worked even less. To Will it seemed an odd result of fortunate love that the artist, though in every other respect a better man than before, should have become, to all appearances, less zealous, less efficient, in his art. Had Rosamund Elvan the right influence on her lover; in spite of Norbert's lyric eulogy, had she served merely to confuse his aims, perhaps to bring him down to a lower level of thought?
There was his picture, "Sanctuary." Before he knew Rosamund, Franks would have scoffed at such a subject, would have howled at such treatment of it. There was notable distance between this and what Norbert was painting in that summer sunrise four years ago, with his portable easel in the gutter. And Miss Elvan admired "Sanctuary"—at least, Franks said she did. True, she also admired the picture of the pawnshop and the public-house; Will had
