Audrey had never been able to enjoy the friendship of her own sex for more than ten minutes at a time. Her own society bored her inexpressibly, and that of the women she had known hitherto was uninteresting because it was like her own. But Katherine was unlike all other women, and she had taken Audrey's fancy. Audrey was always devising pretty little excuses for calling, always bringing in hothouse flowers, or the last hothouse novel, which Katherine positively must read; until, by dint of a naÏve persistency, she won the right to come and go as she pleased. As for Katherine, she considered that a beautiful woman is exempt from criticism; and so long as she could watch Audrey moving about, arranging flowers with dainty fastidious touches, or lying back on the couch in some reckless but perfect pose, she reserved her judgment. She rejoiced in her presence for its beauty's sake. She loved the curves of her limbs, the play of her dimples, the shifting lights in her hair. But she had to pay for the pleasure these things afforded her, and "man's time" became a frequent item in the account. Katherine had set her heart on Ted's studying in Paris for six months, and was trying hard to make enough money to send him there. With this absorbing object in view, she herself worked equally well whether Audrey were in the studio or out of it; but it seemed that Ted's powers were either paralysed or diverted into another channel from the moment she came in. The baby was trying to solve a problem which had puzzled wiser heads than his. But he had no clue to the labyrinth of Audrey's soul; he was not even certain whether she was an intelligent being, though to doubt it was blasphemy against the divine spirit of beauty.

His researches took him very often to Chelsea Gardens, and most of his spare time not spent there was employed in running errands to and fro. Owing to these distractions his nerves became quite unhinged, and for the first time in his life he began to show signs of a temper. He had been full of the Paris scheme at first, but he had not spoken of it now for at least a month.

He had just sat down for the twentieth time to a study of Katherine's head as "Sappho," and had thrown down his palette in disgust, exclaiming—

"What's the use of keeping your mouth still, if your confounded eyes giggle?" when a note arrived from Miss Craven.

You can't step out of a violent passion all in a minute, and perhaps that was the reason why Ted's hands trembled a little as he tore open the envelope and read—

"Dear Mr. Haviland,—Do come over at once. I'm in a dreadful fix, and want your advice and help badly. I would ask your sister, only I know she is always busy.—Sincerely yours,

"Audrey Craven."

Audrey wrote on rough-edged paper, in the bold round hand they teach in schools. She had modelled hers on another girl's, and she signed her name with an enormous A and a flourish. People said there was a great deal of character in her hand-writing.

Ted crammed the note hastily into his pocket, and did his best to hide the radiance of his smile.

"It's only Miss Craven. I'm just going over for half an hour,—I'll be back for tea."

And before Katherine had time to answer he was gone.

Ted's first thought as he entered Miss Craven's drawing-room was that she was in the midst of a removal. The place was turned topsy-turvy. Curtains had been taken down, ornaments removed from their shelves, pictures from their hangings; and the grand piano stood where it had never yet been allowed to stand, in a draught between the window and the door. Tripping over a Persian rug, he saw that the floor was littered with tapestries and rich stuffs of magnificent design. On his left was a miscellaneous collection of brass and copper ware, on his right a heap of shields and weapons of barbarous warfare. On all the tables and cabinets there stood an array of Venetian glass, and statuettes in bronze, marble, and terra-cotta. He was looking about for Miss Craven, when that lady arose from a confused ocean of cushions and Oriental drapery—Aphrodite in an "Art" tea-gown. She greeted him with childlike effusion.

"At last! I'm so glad you've come—I was afraid you mightn't. Help me out of this somehow—I'm simply distracted."

And she pointed to the floor with a gesture of despair.

"Yes; but what do you want me to do?"

"Why, to offer suggestions, advice, anything—only speak."

Ted looked about him, and his eyes rested on the grand piano. "Is it a ball, a bazaar, or an auction? And are we awake or dreaming, alive or dead?"

"Can't you see, Mr. Haviland?"

"Yes, I see a great many things. But what does it all mean?"

Audrey sank on to an ottoman, and answered slowly and incisively, looking straight before her—

"It means that I'm sick of the hideousness of life, of the excruciating lower middle-class arrangement of this room. I don't know how I've stood it all these years. My soul must have been starved—stifled. I want to live in another atmosphere, to be surrounded by beautiful things. Don't laugh like that,—I know I'm not an artist; I couldn't paint a picture—how could I? I haven't been taught. But I know that Art is the only thing worth caring about. I want to cultivate my sense of beauty, and I don't want my room to look like anybody else's."

"It certainly doesn't at present."

"Please be serious. You're not helping me one bit. Look at that pile of things Liberty's have sent me! First of all, I want you to choose between them. Then I want you to suggest a colour-scheme, and to tell me the difference between Louis Quinze and Louis Quatorze (I can't remember), whether it'll do to mix Queen Anne with either. And whether would you have old oak, real old oak, or Chippendale, for the furniture? and must I do away with the cosy corner?"

Ted felt his head going round and round. Artistic delight in Audrey's beauty, pagan adoration of it, saintly belief in it, the first tremor of crude unconscious passion, mingled with intense amusement, reduced him to a state of utter bewilderment. But he had sufficient presence of mind to take her last question first and to answer authoritatively—

"Certainly. A cosy corner is weak-minded and conventional."

"Yes, it is. I'm not in the least conventional, and I don't think I'm weak-minded. And I want my room to express my character, to be a bit of myself. So give me some ideas. You don't mind my asking you, do you? You're the only artist I know."

"Am I really? And if you knew six or seven artists, what then?"

"Why, then—I should ask you all the same, of course."

Boy-like he laughed for pure pleasure, and boy-like he tried to dissemble his emotion, and did her bidding under a faint show of protest. He gave his vote in favour of Venetian glass and a small marble Diana, against majolica and a French dancing-girl in terra-cotta; he made an intelligent choice from amongst the various state-properties around him, and avoided committing himself on the subject of Louis Quatorze. On one point Audrey was firm. For what reasons nobody can say, but some Malay creeses had caught her fancy, and no argument could dissuade her from arranging them over the Neapolitan Psyche which she had kept at Ted's suggestion. The gruesome weapons, on a background of barbaric gold, hung above that pathetic torso, like a Fate responsible for its mutilation. Audrey was pleased with the effect; she revelled in strong contrasts and grotesque combinations, and if Liberty's had sent her a stuffed monkey, she would have perched him on Psyche's pedestal.

"I know a man," said Ted, when he had disposed the last bit of drapery according to an ingenious colour-scheme, in which Audrey's hair sounded a brilliant staccato note—"a first-rate artist—who was asked to decorate a lady's room. What do you think he did? He made her take all the pictures off the walls, and he covered them over with little halfpenny Japanese fans, and stuck little halves and quarters of fans in the corners and under the ceiling. Then he put a large Japanese umbrella in the fireplace, and went away smiling."

"Was the lady pleased?"

"Immensely. She asked all her friends to a Japanese tea-party in Mr. Robinson's room. The rest of the furniture was early Victorian."

This anecdote was not altogether to Audrey's taste. She walked to a shelf where Ted had put some bronzes, looked at them with a decided air of criticism, and arranged them differently. Having asserted her independence, she replied severely—

"Your friend's friend must have been an extremely silly woman."

"Not at all; she was a most intelligent, well-informed person, with—er—a deep sense of religion."

"And now, Mr. Haviland, you're making matters worse. You care nothing about her religion; you simply think her a fool, and you meant that I'm like her. Else why did you tell such a pointless story?"

"Forgive me; the association of ideas was irresistible. You are like her—in your utter simplicity and guileless devotion to an ideal."

He looked all round the room again, and sank back on the sofa cushions all limp with laughter.

"I—I never saw anything so inexpressibly sad as this afternoon's work; it's heartrending."

His eye fell on the terra-cotta Parisienne dancing inanely on her pedestal, and he moaned like one in pain. Audrey's mouth twitched and her cheeks flamed for a second. She turned her back on Ted, until his fit had spent itself, dying away among the cushions in low gurgles. Then there was silence.

Ted raised his head and looked up. She was still standing in the same place, but one hand was moving slowly towards her pocket.

He sprang to his feet and faced her. She walked to the window, convulsively grasping her pocket-handkerchief.

He followed her.

"Miss Craven—dear Miss Craven—on my soul—I swear—I never—— Can't you—won't you believe me?"

Still there was silence and an averted head.

"Speak, can't you!"

He leant against the window and began to giggle again. Audrey turned at the sound, and looked at him through eyes veiled with tears; her lips were trembling a little, and her fingers relaxed their convulsive grasp. He darted forward, seized her hand, and kissed it an indefinite number of times, exclaiming incoherently—

"Brute, hound, cur that I am! Forgive me—only say you'll forgive me! I know I'm not fit to live! And yet, how could I tell? Good heavens! what funny things women are?" Here he took possession of the little lace pocket-handkerchief, and wiped her eyes very gently. Then he kissed her once on the mouth, reverently but deliberately.

To do Audrey justice, she had meant to sustain her part with maidenly reserve, but she was totally unprepared for this acceleration of the march of events. She said nothing, but went back submissively to her sofa, hand in hand with Ted. There they sat for a minute looking rather stupidly into each other's faces.

The lady was the first to recover her self-possession. She raised her hand with a benedictory air and let it rest lightly, ever so lightly, on Ted's hair.

"My dear boy," she murmured, "I forgave you all the time."

Now there is nothing that will dwarf the proportions of the grand passion and bring you to your sober senses sooner than being patted on the head and called "My dear boy" by the lady of your love. Ted ducked from under the delicate caress, and rose to his feet with dignity. His emotion was spent, and he was chiefly conscious of the absurdity of the situation. Every object in that ridiculous room accentuated the distasteful humour of the thing. Psyche looked downcast virgin disapproval from her pedestal under the Malay creeses, and the frivolous little Parisienne flung her skirts abroad in the very abandonment of derision.

If only he hadn't made a fool of himself, if only he hadn't told that drivelling story about the Japanese umbrella, if only he hadn't laughed in that frantic manner, and if only—— But no, he could not look back on the last five minutes. The past was a grey blank, but the flaming episode of the kiss had burnt a big black hole in his present consciousness. He felt that by that rash, unpardonable act he had desecrated the holy thing; and with it all, had forestalled, delayed, perhaps for ever prevented, the sanction of some diviner opportunity. If he had only waited another year, she could not have called him her dear boy.

"I'm fully aware," he said, ruefully, "that I've behaved like a heaven-afflicted idiot, and I'd better go."

"No, you shall not go. You shall stay. I wish it. Sit down—here."

She patted the sofa beside her, and he obeyed mechanically.

"Poor, poor Ted! I do forgive you. We will never misunderstand each other again—never. And now I want to talk to you. What distressed me so much just now was not anything that you said or thought about me, but the shocking way you treat yourself and what is best in you. Can't you understand it? You know how I believe in you and hope for you, and it was your affectation of indifference to things which are a religion to me—as they are to you—that cut me to the heart."

She had worked herself up till she believed firmly in this little fiction. Yes, those tears were tears of pure altruism—tears not of wounded vanity and self-love, but of compassion for an erring genius.

She drew back her head proudly and looked him full in the face. Then she continued, in a subdued voice, with a certain incisive tremor in it, the voice that is usually expressive of the deeper emotions—

"You know, and I know, that there is nothing worth caring about except art. Then why pretend to despise it as you do? And Katherine's every bit as bad as you are,—she encourages you. I know—what perhaps she doesn't—that you have great enthusiasms, great ideals; but you are unfaithful to them. You laughed at me; you know you did——"

("I didn't," from Ted.)

"——because I'm trying to make my life beautiful. You're led away by your strong sense of humour, till you see something ridiculous in the loveliest and noblest things" (Ted's eyes wandered in spite of himself to the little lady in terra-cotta). "I know why: you're afraid of being sentimental. But if people have feelings, why should they be ashamed of them? Why should they mind showing them? Now I want you to promise me that, from this day forth, you'll take yourself and your art seriously; that you'll work hard—you've been idling shamefully lately" (oh, Audrey! whose fault was that?)—"and finish some great picture before the year's out" (he had only five weeks to do it in, but that was a detail). "Now promise."

"I—I'll promise anything," stammered the miserable Ted, "if only you'll look at me like that—sometimes, say between the hours of seven and eight in the evening."

"Ridiculous baby! Now we must see about the pictures; we've just time before tea."

The mention of tea was a master-stroke; it brought them both back to the world of fact, and restored the familiar landmarks.

Ted, solemnly penitent, gave his best attention to the pictures: there was not a trace of his former abominable levity in the air with which he passed sentence on each as Audrey brought them up for judgment. But when he came to the family portraits he suspended his verdict, and Audrey was obliged to take the matter into her own hands.

She took up a small picture in a square frame and held it close to Ted's face.

"Portrait of my uncle, the Dean of St. Benedict's. What shall I do with it?"

"That depends entirely on the amount of affection you feel for the original."

"H'm—does it? He's a dear old thing, and I'm very fond of him, but—what do you think of him?—from an artistic point of view?"

She stood with her body curved a little backwards, holding the Dean up high in a good light. Her attitude was so lovely that it was impossible to disapprove of her. Ted's reason tottered on its throne, and he laughed, which was perhaps the best thing he could have done.

"He is not, strictly speaking, handsome."

"No," said Audrey; "I'm afraid he'll have to go."

She knelt down beside the portrait of a lady. It was evidently the work of an inferior artist, but his most malignant efforts had failed to disguise the beauty of the face. It bore a strong resemblance to Audrey, but it was the face of an older woman, grave, intelligent, and refined by suffering.

"I've been obliged to take this down," she said, as if apologising more to herself than Ted, "because I want to hang my large photo of the Sistine Madonna in its place."

"What is it?"

"It's—my mother's portrait. She died when I was a very little girl, and I hardly ever saw her, you know. I'm not a bit like her."

He stood silent, watching her intently as she spoke.

"Family portraits," she continued, "may be interesting, but they are not decorative. Unless, of course," she added, hastily, being at a loss to account for the peculiar expression of Ted's face, "they're very old ones—Lelys and Sir Joshua Reynoldses."

"That face does not look old, certainly."

"No. She died young."

She had not meant to say that; a little shiver went through her as the words passed her lips, and she felt a desire to change the subject. But the portrait of the late Mrs. Craven was turned to the wall along with the Dean.

"Hullo!" exclaimed Ted, taking up a photo in a glass frame, hand-painted, "here's old Hardy! What on earth is he doing here?"

Audrey blushed, but answered with unruffled calm.

"Vincent? Oh, he's a family portrait too. He's my cousin—first cousin, you know."

"What are you going to do with him?"

"I—I hardly know."

She took the photo out of his hands and examined it carefully back and front. Then she looked at Ted.

"What shall I do with him? Is he to go too?"

"Well, I suppose he ought to. He's all very well in his own line, but—from an artistic point of view—he's not exactly—decorative."

"Poor old Vincent! No, he's not."

And Vincent was turned face downward among the ruins of the cosy corner, and Audrey and Ted rested from their labours.

When Ted had gone, the very first thing Audrey did was to get a map and to look out the Rocky Mountains. There they were, to be sure, just as Vincent had described them, a great high wall dividing the continent. At that moment Hardy was kneeling on the floor of his little shanty, busy sorting bearskins and thinking of Audrey and bears. He had had splendid sport—that is, he had succeeded in killing a grizzly just before the grizzly killed him. How nervous Audrey would feel when she got the letter describing that encounter! Then he chose the best and fluffiest bearskin to make a nice warm cape for her, and amused himself by picturing her small oval chin nestling in the brown fur. And then he fell to wondering what she was doing now.

He would have been delighted if he could have seen her poring over that map with her pencilled eyebrows knit, while she traced the jagged outlines of the Rockies with her finger-nail, congratulating herself on the height of that magnificent range.

Yes, there was a great deal between her and her cousin Mr. Hardy.