face—hidden, as to the lower part of it, by a curly black beard—would have been absolutely handsome, even in the eyes of a schoolgirl, but for the deep furrows that marked it prematurely between the eyebrows, and at the sides of the mouth. In the same way, an underlying mockery impaired the attraction of his otherwise refined and gentle manner. Among his fellow-creatures, children and dogs were the only critics who appreciated his merits without discovering the defects which lessened the favorable appreciation of him by men and women. He dressed neatly, but his morning coat was badly made, and his picturesque felt hat was too old. In short, there seemed to be no good quality about him which was not perversely associated with a drawback of some kind. He was one of those harmless and luckless men, possessed of excellent qualities, who fail nevertheless to achieve popularity in their social sphere.
Francine handed his sketch to him, through the window; doubtful whether the words that he had addressed to her were spoken in jest or in earnest.
“I only presumed to touch your drawing,” she said, “because it was in danger.”
“What danger?” he inquired.
Francine pointed to the pond. “If I had not been in time to pick it up, it would have been blown into the water.”
“Do you think it was worth picking up?”
Putting that question, he looked first at the sketch—then at the view which it represented—then back again at the sketch. The corners of his mouth turned upward with a humorous expression of scorn. “Madam Nature,” he said, “I beg your pardon.” With those words, he composedly tore his work of art into small pieces, and scattered them out of the window.
“What a pity!” said Francine.
He joined her on the ground outside the cottage. “Why is it a pity?” he asked.
“Such a nice drawing.”
“It isn’t a nice drawing.”
“You’re not very polite, sir.”
He looked at her—and sighed as if he pitied so young a woman for having a temper so ready to take offense. In his flattest contradictions he always preserved the character of a politely-positive man.
“Put it in plain words, miss,” he replied. “I have offended the predominant sense in your nature—your sense of self-esteem. You don’t like to be told, even indirectly, that you know nothing of Art. In these days, everybody knows everything—and thinks nothing worth knowing after all. But beware how you presume on an appearance of indifference, which is nothing but conceit in disguise. The ruling passion of civilized humanity is, Conceit. You may try the regard of your dearest friend in any other way, and be forgiven. Ruffle the smooth surface of your friend’s self-esteem—and there will be an acknowledged coolness between you which will last for life. Excuse me for giving you the benefit of my trumpery experience. This sort of smart talk is my form of conceit. Can I be of use to you in some better way? Are you looking for one of our young ladies?”
Francine began to feel a certain reluctant interest in him when he spoke of “our young ladies.” She asked if he belonged to the school.
The corners of his mouth turned up again. “I’m one of the masters,” he said. “Are you going to belong to the school, too?”
Francine bent her head, with a gravity and condescension intended to keep him at his proper distance. Far from being discouraged, he permitted his curiosity to take additional liberties. “Are you to have the misfortune of being one of my pupils?” he asked.
“I don’t know who you are.”
“You won’t be much wiser when you do know. My name is Alban Morris.”
Francine corrected herself. “I mean, I don’t know what you teach.”
Alban Morris pointed to the fragments of his sketch from Nature. “I am a bad artist,” he said. “Some bad artists become Royal Academicians. Some take to drink. Some get a pension. And some—I am one of them—find refuge in schools. Drawing is an ‘Extra’ at this school. Will you take my advice? Spare your good father’s pocket; say you don’t want to learn to draw.”
He was so gravely in earnest that Francine burst out laughing. “You are a strange man,” she said.
“Wrong again, miss. I am only an unhappy man.”
The furrows in his face deepened, the latent humor died out of his eyes. He turned to the summer-house window, and took up a pipe and tobacco pouch, left on the ledge.
“I lost my only friend last year,” he said. “Since the death of my dog, my pipe is the one companion I have left. Naturally I am not allowed to enjoy the honest fellow’s society in the presence of ladies. They have their own taste in perfumes. Their clothes and their letters reek with the foetid secretion of the musk deer. The clean vegetable smell of tobacco is unendurable to them. Allow me to retire—and let me thank you for the trouble you took to save my drawing.”
The tone of indifference in which he expressed his gratitude piqued Francine. She resented it by drawing her own conclusion from what he had said of the ladies and the musk deer. “I was wrong in admiring your drawing,” she remarked; “and wrong again in thinking you a strange man. Am I wrong, for the third time, in believing that you dislike women?”
“I am sorry to say you are right,” Alban Morris answered gravely.
“Is there not even one exception?”
The instant the words passed her lips, she saw that there was some secretly sensitive feeling in him which she had hurt. His black brows gathered into a frown, his piercing eyes looked at her with angry surprise. It was over in a moment. He raised his shabby hat, and made her a bow.
“There is a sore place still left in me,” he said; “and you have innocently hit it. Good-morning.”
Before she could speak again, he had turned the corner of the summer-house, and was lost to view in a shrubbery on the westward side of the grounds.
CHAPTER V. DISCOVERIES IN THE GARDEN.
Left by herself, Miss de Sor turned back again by way of the trees.
So far, her interview with the drawing-master had helped to pass the time. Some girls might have found it no easy task to arrive at a true view of the character of Alban Morris. Francine’s essentially superficial observation set him down as “a little mad,” and left him there, judged and dismissed to her own entire satisfaction.
Arriving at the lawn, she discovered Emily pacing backward and forward, with her head down and her hands behind her, deep in thought. Francine’s high opinion of herself would have carried her past any of the other girls, unless they had made special advances to her. She stopped and looked at Emily.
It is the sad fate of little women in general to grow too fat and to be born with short legs. Emily’s slim finely-strung figure spoke for itself as to the first of these misfortunes, and asserted its happy freedom from the second, if she only walked across a room. Nature had
