Whether Audrey did or did not understand herself, she was a mystery to all about her, and to none more than her father's cousin and her own chaperon, Miss Craven. This unfortunate lady, under stress of circumstances, had accepted the charge of Audrey after her parents' death, and had never ceased to watch her movements with bewildered interest and surprise. The most familiar phenomena are often the least understood, and Miss Craven's intelligence was daily baffled by the problem of Audrey. Daily she renewed her researches, with enthusiasm which would have done credit to a natural philosopher, but hitherto she had found no hypothesis to cover all the facts. The girl was either a rule for herself, or the exception that proved other people's rules; and Miss Craven was obliged to rest satisfied in the vague conclusion that she had a great deal of "character." Strange to say, that is how Audrey struck most of her acquaintance, though as yet no one had been known to venture on further definition. Miss Craven was repaid for her affectionate solicitude by an indifference none the less galling because evidently unstudied. Audrey rather liked her chaperon than otherwise. The "poor old thing," as she called her, never got in her way, never questioned her will, and made no claims whatsoever on her valuable time; besides relieving her of all those little duties that make us wonder whether life be worth living.

Under the present dispensation chaperons were a necessary evil; and Audrey was not one to fly heedlessly in the face of her Providence, Society.

All the same, Miss Craven had her drawbacks. If you, being young and vivacious, take a highly nervous old lady and keep her in a state of perpetual repression, shutting her out from all your little confidences, you will find that the curiosity so natural to her age will be sure to burst out, after such bottling, in alarming effervescence. As soon as Hardy's unmistakable footsteps were heard on the stairs, she had left the drawing-room on a hint from Audrey. In her room above she had heard the alternate booming and buzzing of their voices prolonged far into the night, but could make out no intelligible sounds. To ears tingling with prophetic apprehension the provocation was intense.

The old lady passed a restless night, and came down to breakfast the next morning quivering with suppressed excitement. Audrey's face did not inspire confidence; and it was not until she had touched lightly on the state of the weather, and other topics of general interest, that Miss Craven darted irrelevantly to her point.

"My dear, is there anything between you and your—er—cousin Mr. Hardy?"

The awful question hung in the air without a context, while Audrey went on making tea. This she did with a graceful and deliberate precision, completing the delicate operation before answering.

"Yes, there is a great deal between me and my cousin Mr. Hardy, which neither of us can get over."

There was a freezing finality in the manner of the reply, in spite of the smile which accompanied it; and even Miss Craven could not fail to understand. She bridled a little, wrapping herself closer in her soft shawl as in an impenetrable husk of reserve, and began nervously buttering toast. The whole thing was very odd; but then the ways of Audrey were inscrutable.

Audrey herself felt an unspeakable relief after that question and her own inspired answer. Last night she had possibly been ambiguous; to-day, at any rate, her words had a trenchant force which severed one of the thousand little threads that bound her to Hardy. After all, when it came to the point, there was an immense amount of decision in her character. And as the days went on, and Hardy with them, leaving league after league of the Atlantic behind him, the load at her heart grew lighter; and when at last the letter came which told her that he had crossed the Rocky Mountains, she felt with a little tremor of delight that she was a free woman once more. Her world was all before her, vaguely alluring, as it had been a month ago.

The letters which Hardy sent from time to time had no power to destroy this agreeable illusion; for of course letters were bound to come, and she answered them all with cousinly affection, as she would have answered them in any case. At last one came which roused her from her indifference, for it had a postscript:—

"By the way, there's a Miss Katherine Haviland living near you, at 12 Devon Street, Pimlico. She's a sort of little half-sister of mine, so I'd be glad if you'd go and look her up some day and be kind to her. There's a brother knocking about somewhere, but he doesn't count, he's only a baby. Ripping sport—shot a moose and two wapiti this morning."

Audrey read the letter with languid attention. She was not in the least interested to hear that he had taken up land and put it into the hands of an agent to farm. She was tired of the long highly-coloured descriptions of Canadian scenery and the tales of Vincent's adventures, and she had got into the way of skipping his vain repetitions of all the absurd things he had said to her on the night of his departure; but the postscript stirred strange feelings in her breast. His mother was married a second time, but to Audrey's certain knowledge Vincent had no little half-sisters; it followed that for some reason he had used a figure of speech. She was not in the least in love with him, but at the same time she felt all the dignity of her position as empress of his heart, and could bear no little half-sisters near the throne. She would certainly look Miss Haviland up. She would go and be kind to her that afternoon; and she put on her best clothes for the occasion.

A few minutes' walk brought her to No. 12 Devon Street, one of a row of gloomy little houses—"full of dreadful city clerks and dressmakers," she said to herself in a flight of imagination.

She lifted the knocker gingerly in her white gloved hand, and felt by no means reassured when she was shown in, and followed the servant up the narrow staircases to the attics. As she neared the top she heard a voice above her sounding in passionate remonstrance.

"Three baths in the one blessed dy, a-splashin' and a-sloogin' somethin' orful—'e didn't ought for to do it, m'm, not if it was ever so!"

Here the voice was cut short by a mingled roar and ripple of laughter, and Miss Audrey Craven paused before announcing herself. Through the half-open doorway she saw a girl standing before an easel. She had laid down her palette and brushes, and with bold sure strokes of the pencil was sketching against time, leaning a little backwards, with her head in a critically observant pose. The voice reasserted itself in crushing peroration—

"I tell you wot it is, Mr. 'Aviland—you're no gentleman."

And Audrey's entrance coincided with the retreat of a stout woman, moving slowly with an unnatural calm.

The girl doubled back her sketch-book and came forward, apologising for the confusion. Face to face with the object of her curiosity, Audrey's first feeling was one of surprised and reluctant admiration. Miss Haviland was dark, and pale, and thin; she was also a little too tall, and Audrey did not know whether she quite liked the airy masses of black hair that curled high up from her forehead and low down on it, in crisp tendrils like fine wire. Yet, but for her nose, which was a shade too long, a thought too retroussÉ, Miss Haviland would have been beautiful after the Greek type. (Audrey's own type, as she had once described it in a moment of introspection, was the "Roman piquante," therefore she made that admission the more readily.) There was a touch of classic grace, too, in the girl's figure and her dress. She had rolled up the sleeves of her long blue overall, and bound it below her breasts and waist with a girdle of tape—not for the sake of effect, as Audrey supposed, but to give her greater freedom as she worked and moved about the studio. At this point Audrey found out that all Miss Haviland's beauty lay in the shape of her head and neck. With "that nose" she might be "interesting," but could never be beautiful; in fact, her mouth was too firm and her chin stuck out too much even for moderate prettiness.

Audrey did not arrive at these conclusions in the gradual manner here set forth. The total impression was photographed on her sensitive feminine brain by the instantaneous process; and with the same comprehensive rapidity she began to take in the details of her surroundings. The attic was long, and had one window to the west, and another to the north under the roof, looking over the leads. At the far end were a plain square table and a corner cupboard. That was the dining-room and the pantry. Before the fireplace were a small Persian rug bounded by a revolving book-case, a bamboo couch, a palm fern, a tea-table. That was the library and drawing-room. All the remaining space was the studio; and amongst easels, stacks of canvases, draperies, and general litter, a few life-size casts from the antique gleamed from their corners.

From these rapid observations Audrey concluded that Miss Haviland was poor.

"You were busy when I came in?" she asked sweetly.

"No; I was only taking a hurried sketch from the life. It's not often that our landlady exhibits herself in that sublime mood; so I seized the opportunity."

"And I interrupted you."

"No; you interrupted Mrs. Rogers, for which we were much obliged—she might have sat for us longer than we liked. I am very pleased to see you."

Certainly Audrey was a pleasant sight. There was no critical afterthought in the admiring look which Miss Haviland turned on her visitor, and Audrey felt to her finger-tips this large-hearted feminine homage. To compel another woman to admire you is always a triumph; besides, Miss Haviland was an artist, and her admiration was worth something—it was like having the opinion of an expert. Audrey pondered for a moment, with her head at a becoming angle, for she had not yet accounted for herself.

"My cousin Vincent Hardy asked me to call on you. I believe he is a very old friend of yours?"

"Yes; we have known each other since we were children."

"What do you think of his going out to Canada to farm?"

"I didn't know he had gone."

(Then Vincent had not thought it worth while to say good-bye to his "little half-sister." So far, so good.)

"Oh, didn't you? He went six weeks ago."

"I never heard. It's an unlikely thing for him to do, but that's the sort of thing he always did do."

"He hated going, poor fellow. He came to say good-bye to me the night before he went, and he was in a dreadful state. I've heard from him every week since he sailed, and he's promised to send me some bearskins. Isn't it nice of him?" ("She won't like that!")

Miss Haviland assented gravely, but her eyes smiled.

"I suppose you've seen a good deal of Vincent? He wrote to me about you from the Rocky Mountains."

"Did he? We used to be a good deal together when we were little. Since then we have been the best of friends, which means that we ignore each other's existence with the most perfect understanding in the world. I always liked Vincent."

This was reassuring. Miss Haviland's manner was candour itself; and depend upon it, if there had been any self-consciousness about her, Audrey would have found it out at once. She dropped the subject, and looked about her for another. The suggestions of the place were obvious.

"I see you are a great artist. My cousin didn't prepare me for that."

Miss Haviland laughed.

"Vincent is probably unaware of the interesting fact, like the rest of the world."

"That picture is very beautiful; may I look at it?" said Audrey, going up to the easel.

"Certainly. It's hardly finished yet, and I don't think it will be particularly beautiful when it is. I can't choose my subjects."

"It looks—interesting," murmured Audrey, fatuously. (What was the subject, after all?) "Have you done many others?"

"Yes, a good many."

"May I——?" she hesitated, wondering whether her request might not be a social solecism, like asking a professional to play.

"If you care about pictures, I will show you some of my brother's some day. His are better than mine—more original, at least."

"Your brother? Oh, of course. Vincent told me you had a brother, a baby brother. Surely——"

Miss Haviland laughed again.

"How like Vincent! He is unconscious of the flight of time. I suppose he told you I was about ten years old. But you must really see the baby; he will be delighted with your description of him." She called through the skylight, and Audrey remembered the gentleman who was "no gentleman," and who must have been responsible for half the laughter she had overheard.

"You see," Miss Haviland explained, "we've only one room for everything; so Ted always climbs on to the leads when we hear people coming—he's bound to meet them on the stairs, if he makes a rush for the bedrooms. If any bores come, I let him stay up there; and if it's any one likely to be interesting, I call him down."

"He must have great confidence in your judgment."

"He has. Here he comes."

Audrey looked up in time to see the baby lowering himself through the skylight. With his spine curved well back, his legs hanging within the room, and his head and the upper part of his body laid flat on the leads outside it, he balanced himself for a second of time. It was a most undignified position; but he triumphed over it, as, with one supple undulation, he shot himself on to the floor, saving his forehead from the window by a hair's-breath.

After this fashion Ted Haviland was revealed to Audrey. She was, if anything, more surprised by his personal appearance than by the unusual manner of his entrance. The baby could not have been more than nineteen or twenty, and there could be no dispute as to his beauty. Nature had cast his features in the same mould as his sister's, and produced a very striking effect by giving him the same dark eyebrows and lashes, with blue eyes and a mass of light brown hair. Detractors complained that the type was too feminine for their taste; but when challenged to show a single weak line in his face, they evaded the point and laid stress on the delicate pallor of his complexion. Not that it mattered, for Ted soon made you think as little of his good looks as he did himself. But Audrey never forgot him as she first saw him, glowing with exercise and the midday bath which had roused his landlady's indignation.

"I'm extremely sorry," he began airily, "for disappearing in that rude way."

"Perhaps I ought to apologise," said Audrey, "for I frightened you away."

"Not at all, though I was desperately frightened too. I was flying before Mrs. Rogers when you came in. You'll probably think I ought to have braved it out, just for the look of the thing—especially after her reflections on my social position—but unfortunately my sister has imbued that terrible woman with the belief that art can't possibly flourish anywhere outside this attic of hers. Ever since then she's kept us in the most humiliating subjection. I don't want you to think badly of Mrs. Rogers: there's no malice about her; she wouldn't raise your rent suddenly, or leave pails of water on the stairs, or anything of that kind, and she's capable of really deep feeling when it's a question of dinner."

"Ted—if you can forget Mrs. Rogers for a minute—I told Miss Craven that you would show her some of your sketches and things some day."

"All right; we'll have the exhibition to-day, if Miss Craven cares to stop. Plenty of time before the light goes."

Audrey hesitated: but Miss Haviland had moved aside her own easel to make room for her brother's; she seconded his invitation, and Miss Craven stopped.

Three months ago, in an Oxford drawing-room, she had found herself absorbing metaphysics, as it were through the pores of her skin, without any previous discipline in that exacting science; now, in a London studio, she became aware of a similarly miraculous influx of power. Yesterday she would have told you that she knew nothing about art, and cared less. To-day it seemed that she had lived in its atmosphere from her cradle, and learned its language at her nurse's knee. But, though familiar with art, she was not prepared for the behaviour of the artist. Ted treated his works as if he were the last person concerned with them. He would pass scathing judgment on those which pleased Audrey best; or he would stand, like a self-complacent deity, aloof from his own creations, beholding them to be very good, and not hesitating to say so.

"Well," said Audrey at last, "you've shown me a great many lovely things, but which is your masterpiece?"

"They were all masterpieces when I first finished them."

"Yes; but seriously, which do you consider your best? I want to know."

Ted hesitated, and then turned to a stack of larger canvases.

"I wonder," she murmured, "if I shall think it your best."

"Probably not."

"Why not?"

Ted did not answer: he hardly liked to say, "Because hitherto you have persistently admired my worst."

"This," he said, laughing, as he lifted a large canvas on to the easel, "is the only masterpiece that has withstood the test of time."

"He means," struck in his sister, "that he finished it a week ago, and that in another week he'll want to stick a knife into it."

With all its faults the picture had a poetic audacity that defied the criticism it provoked. If you looked long enough, you saw that a youth and a maiden were lying in a trance that was half sleep, half death; while their souls, diaphanous forms with indefinite legs, hovered above them in mid-air, each leaning towards the other's body. The souls described two curves that crossed like the intersecting of rainbows; and where they met, their wings mingled in a confused iridescence. Eros, in a flame-coloured tunic, looked on with an air of studied indifference that might or might not have been intended by the painter.

Audrey looked helplessly at the picture. She could not understand it, and with things that she could not understand she always felt a vague impotent displeasure.

"What—what is the subject?" she gasped at length.

"A metempsychosis."

She knitted her brows and said nothing.

"Transmigration of souls—why didn't I say so at first?" returned Ted, in cheerful response to the frown.

"So I see; but what's Apollo doing there with his bow and arrows, and why is he all in red?"

"It's not meant for Apollo—it's an Eros."

"I beg your pardon?"

"An Eros—Love, a very inferior order of deity."

"Why is he in red?"

"I don't know, I'm sure. His taste in dress always was a little loud."

"But why is he there at all?"

"Love! Can't you see? I can't explain if it's not obvious. He—er—he must be there."

Audrey looked up, but the baby was not looking at her; he was absorbed in his masterpiece. She flushed, and pressed one little pointed boot firmly to the ground.

"Yes, yes, I see that; but I can't make out the rest of it."

Ted shook his head helplessly, while his sister laughed at his discomfiture.

"Please don't mind my sister," said he, nervously flourishing his maul-stick. "The picture represents two people exchanging souls"—Audrey raised her eyebrows: "those are the souls, and these are the people—do be quiet, Katherine! It's a perfectly conceivable transaction, though I own it might be a very bad bargain for some. I wouldn't like to swop souls with my sister, for instance—she hasn't any imagination."

Audrey gave a little shudder.

"What a curious idea! It makes me feel quite creepy. But I'm sure I never could lose my sense, of personal identity. My individuality is too strong—or something. And then, what has Love got to do with it? What does it all mean?"

"Obviously, that Love is Master of the Ceremonies at every well-regulated metempsychosis," said Katherine.

"I see." Audrey lay back in her chair and gazed dreamily at the painting, while the painter gazed at her. Was he trying to find out the secret of that individuality?

Audrey turned to Katherine with her radiant smile.

"Do you paint like this, too?"

"No, I'm a portrait-painter."

"Ah! that means that you'd rather paint what you see?"

"It means that I have to paint a great deal that I'd rather not see."

"But your brother is an idealist—aren't you, Mr. Haviland?"

"Probably. I've always noticed that when people call you an idealist, it's a polite way of saying you're a failure. I may be an idealist; I don't know, and I'm afraid I don't much care."

"I'm sure you do care; and you must have your ideals."

"Oh, as for that, I've kept as many as seven of them at a time. But I never could tame them, and when it comes to taking their portraits the things don't know how to sit properly. Look at that woman's soul, for instance"—and Ted pointed to his masterpiece with disgust.

"Why, what's wrong with it? It's beautiful."

"Yes; I got on all right with the upper half, but, as you see, I've been a little unfortunate with the feet and legs."

"Of course!" interrupted Katherine, "because you got tired of the whole thing. That's what a man's idealism comes to!"

Audrey looked up with a quick sidelong glance.

"And what does a woman's idealism come to?"

"Generally to this—that she's tried to paint her own portrait large, with a big brush, and made a mess of the canvas."

There was a sad inflection in the girl's voice, and she looked away as she spoke. The look and the tone were details that lay beyond the range of Audrey's observation, and she felt hurt, though she hardly knew why. She rose, carefully adjusting her veil and the lace about her throat.

"I adore idealists—I can't help it; I'm made that way, you see."

She shrugged her shoulders, in delicate deprecation of the decrees of Fate.

Katherine did not see, but she went down with Miss Craven to the door. Ted had proposed tea on the leads, and Audrey had agreed that it would have been charming—idyllic—if she could have stayed. But she had looked at the skylight, and then at her own closely fitting gown, and Propriety, her guardian angel, had suggested that she had better not.

"Ted," said Katherine an hour later, "I've got an idea. What a magnificent model Miss Craven would make!"

Ted made no answer; but he flung his sketch-book to the other end of the room, where it took Apollo neatly in the eye.

"I've failed miserably in my Mrs. Rogers," said he, and went off for solitary contemplation on the leads.

Katherine picked up the book and looked at it.

He had failed in his Mrs. Rogers; but in a corner of a fresh page he had made a little sketch of a face and figure which were not those of Mrs. Rogers. And that was a failure too.