An hour later Julian Goetze was standing alone in his studio. The sketch fresh from his brush was before him, and beneath it, resting upon the floor, was another somewhat farther advanced.

He had painted until the light had begun to grow yellow and dim, then he had reluctantly told his sitter that he could do no more for that day.

"And when shall I come again?" she had asked.

He would have said, "Come to-morrow," had he dared; but remembering other engagements, and knowing that the work could not be continued so soon, he had hesitated before replying.

"I can go on with the picture in two or three days; come as soon after that as—as you wish," he said, softly.

Their eyes met for a moment; the delicate color deepened in her cheeks, her lips murmured a half inaudible word of adieu, and she was gone.

Julian left alone had flung himself into a large chair that stood near the window, and looked out upon the little garden beyond. It was June. The days were long and the sun was still touching the tops of the locust trees. He was away from the bustle of the city, and an atmosphere of peace almost like that of the country was about him. All at once he covered his face with his hands, pressing his fingers hard into his eyes.

"I love her, I love her," he groaned; "she is an angel from heaven, and I—oh, my God! if she knew she would hate me."

He rose and stood before the face on the easel; then, as if suddenly recollecting, he approached the canvas that was turned face to the wall, and which once before that day had claimed his attention, and, facing it nervously about, placed it beneath the other.

It was the portrait of a woman. Like the one above her, she was fair and beautiful; but here all resemblance apparently ceased. Nothing could be more widely different than the characters that had stamped themselves upon the faces of these two.

The picture on the floor was that of a woman whose age might be anywhere from twenty-five to thirty-five; a woman of the great world of fashion, of folly, of intrigue, perhaps of vice. Her dress was a rich ball costume, exposing the white flesh of her beautiful arms, her perfect shoulders, and her pearly tinted throat and bosom. Like the other, her face was oval in shape, but seemed less perfect in its contour. There was a certain lack of delicacy and softness about the outline that suggested the fierce chase after the sham pleasures of the great social world.

The rest of the features were in harmony with this idea. The beautiful mouth was hard and cruel. The lips and cheeks were bright as if artificially tinted, or flushed with wine. The eyes were bold and the pupils seemed expanded as with belladonna. The nostrils of the finely shaped nose were full and sensual. Her luxuriant brown hair, singularly like that of the portrait above her in color, she wore in the late French mode, combed back from her high, broad forehead and twisted into a massive device at the top. Her eyebrows were unnaturally dark. An artificial air pervaded the entire picture—one felt that she had an artificial soul. A perfect prototype of Folly's feverish and heartless world.

As the artist stood gazing from one to the other, the curious vexed and puzzled expression that had come into his face once before that day returned. He approached closely to the work as if to examine it more minutely. As he bent low over the face on the easel he heard the street door open. He started guiltily, and hastily turned both pictures to the wall. A moment later a tall, fair-haired man of about his own age entered without knocking. It was Harry Lawton, the artist's most intimate friend.

"Julian, old boy, how goes it?" he said, cheerily.

"Pretty well, Harry; come in."

"Yes, I should do that any way. I don't seem to be any too welcome, however."

"Nonsense, Harry, of course you are welcome; I am very glad, in fact, to see you, just now.

"Well, that's better; although I must say your face doesn't indicate excessive joy."

"Sit down; not there—here by the door; I want to show you something."

"Oh, some new and wonderful work of your transcendent genius, I suppose. By the way, how is the picture for the Salon getting along?"

"Tediously, Harry; I seem to have lost the spirit of the thing."

"Found too much spirit of another kind, perhaps."

"No, not that. I have been a model of abstinence of late."

"And the heavens do not fall?

"No—yes—that is—let your tongue rest for a moment, please, and use your eyes."

While the artist had been speaking he had taken the large screen from before the window and moved his easel into a stronger light. Upon it he now placed the two portraits in their former position. The effect upon the other was vigorous and immediate.

"Heavens! Julian, where did you get that angel and that dev—I beg pardon, that extraordinary pair of beauties? Oh, I see!—why, of course! a new idea for the Salon. A modern Guinevere and Elaine; Siren and Saint; Sense and Innocence. I congratulate you, old boy; they are wonderful"—

"Please be quiet for a moment, Harry; they are not for the Salon. They are two sitters of mine. The one beneath has been here twice—the first time about a week ago; the second time day before yesterday. The other came for the first time to-day."

"And they are real, live women, then?"

"Yes. I was in hopes you might recognize one or both of them."

The other shook his head, and gazed from one to the other in silence.

"Do you see any—any resemblance between them?" asked the artist, after a pause.

"Resemblance! Good Lord, no! Why? Are they related in any way?"

"Not that I am aware of; in fact, I am quite sure they are not. She told me she had no relatives."

"Um—and which do you refer to as she?"

"Oh, the upper one, of course."

"Well, I don't see any 'of course' about it. She was here to-day for the first time. I don't see why she should begin by exchanging family confidences. All things considered, I should have thought it more than likely you referred to the other. However, I suppose you are familiar with her family history, too."

"Don't be sarcastic, Harry. I know nothing of either of them; at least not in that way. The one who came first gave her name as Evelin March. She came in suddenly, one morning last week, and asked for a sitting. She had on a light wrap, which she laid off and stood before me as you see her. During the sitting she was inclined to be lively and talkative. Her voice is just a trifle harsh, but she is a remarkably brilliant talker and a very fascinating woman. I had not met the other, then, and foolishly allowed myself to say some rather silly things to her. When she came again I did more. You know what a rash fool I am, Harry. Well, I made love to her, off-hand. She stirred me up terribly for some reason. Of course, there was nothing of real love in what I felt for her; it was a brief madness of the head. You know about what I would say under the circumstances."

"Oh, perfectly. You swore that her eyes were as are lights in a midnight desert; that her tints would rival the roseate pearl of a June sunset; that her smiles would be your only diet henceforth and forever; that her frown would be as terrible as the day of judgment. And now what has the other one to do with it?"

"Lawton, you will think I am crazy, and I am, perhaps—but I love her; and more than that, I believe she loves me. No word of it has passed between us, but—we understand."

"Oh, we do, eh? We—we understand," imitated Lawton. "Well, this is exceedingly interesting, I must say, although quite the thing to be expected from one of your temperament. How very fortunate you are in the choice of subjects, too."

"What do you mean, Harry?"

"Well, I should judge you might divide up your affections on those two without any serious confliction of sentiments."

"You are mistaken, though; I do not care for Evelin March at all, now. I am sorry I ever met her. I shall stop this foolish flirtation with her, at once."

"Quite likely. And when does Evelin come again?"

"To-morrow, perhaps."

"So; well, I'll just drop in to-morrow evening for the latest. Evelin seems to be a trifle outclassed just at present."

"Harry, you are unkind. I tell you I love that innocent girl on the easel there and mean to marry her."

"Oh, of course; I haven't the least doubt of it. And now, what about the resemblance?"

"Why, look! do you see their hair? The shade of each is exactly the same—the same silkiness and glow through it; it is very peculiar. And notice the ear; the outline and formation of each is identical. You may not have noticed these things as I have, but it is very rare that the ear is anatomically the same in two people. There is a similarity, too, about the oval of the face, although less marked and not unusual; and there is a faint suggestion of something else, which I feel but cannot locate. I noticed these things, and they struck me at once as being a tie of kinship. I hinted, in a miserably awkward manner, as to relatives who might be having their portraits painted. It was then she told me that she had no relatives, and I believe started to tell me she had no friends, but she hesitated and was near bursting into tears. From that moment I loved her; I shall love her always."

"Charming, Julian. And yet I fancy she is not wholly alone in the world. A beautiful and affluent maiden is not calculated to be friendless; and you will admit that one who is able to gratify a passing impulse for one of Julian Paul Goetze's justly celebrated portraits is not likely to be destitute. Still, I will allow that there are cases, even among the wealthy, that are not entirely undeserving of sympathy; and, if I may judge from this incipient work of your magic brush, I think I should be willing to lavish any amount of that article on its original. However, you haven't told me her name as yet; I trust it is not disappointing."

"I do not even know it myself. She gave me her card; I laid it down and haven't thought of it since."

"Well, really, if your love is no greater than your curiosity, your case does not present any very alarming features, as yet."

The artist had approached a small table in the center of the room, from which he now picked up a slip of white pasteboard and held it to the light, then he started a little and was silent.

"Well?" said his friend, inquiringly; "is it Mary Mullally or Nancy Muggins?"

The artist turned to the table again and selected another card, somewhat larger, from a little silver tray; then he returned to Lawton and held them before him, one above the other, like the pictures. On the lower one, written in a bold, dashing hand, were the words:

Evelin March.

And on the other, in a neat and beautiful penmanship:

Eva Delorme.

"Capital, old fellow!" exclaimed Lawton. "There is an air of harmony about the name, the handwriting, and the face of your charmer that is delightful. What a blessing she has no relatives."

"But do you notice nothing strange about these names, Harry?"

"Nothing, except that both are strangely bewitching. What more is there?"

"Why, the similarity of the first names. Eva—Evelin; one is frequently a contraction of the other. I don't like this, Harry; it troubles me."

"Now, Julian, you are positively absurd. Here are two women of natures manifestly as different as light and darkness. By a coincidence, or a distant family tie, or both, their hair happens to be the same color (not a very unusual one, either, by the way); a similarity in their names; also, perhaps, one or two other trifling resemblances, more or less marked. I will admit, myself, that there is something in the face of that siren that had she kept herself unspotted from the world might have suggested the other—that rare being there on the easel who told you she had no relatives or friends, and for which reason you are deeply troubled. It is probable she told you the exact truth. I have seen people who were almost counterparts of each other between whom there existed no known tie of kinship. There was once a man in New York who resembled Jay Gould so strikingly as to deceive their best friends. And besides, the girl may have relatives of whom she knows nothing. Most of us have cousins whom we have never seen, or even heard of. Should Guinevere prove to be the unknown cousin of Elaine, I cannot see that the purity and charm of Elaine is in any manner affected thereby."

"Yes, Harry; that is so. Besides"—

"Besides, the resemblance is positively trivial. No one but an artist would think of it. I should never have suspected it without your assistance. In the one face there is written all that is good, and pure, and holy; in the other, all that is reckless, unscrupulous, soulless, and if not vicious might easily become so. It does not take a physiognomist to see that. I beg pardon for saying so, Julian, but it seems to me that there is no more similarity between the two than there is between the opposing elements of your own strange nature. The one all that is good, and the other, well—not all that is bad, but very different, you know, old boy. And it is probably these forces within you that answer to the charms of these two beings who are so manifestly opposites. The one inspiring only the nobleness of a blameless love; the other suggesting the abandonment of a reckless passion."

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