faces that passed him, trying to understand them. To his surprise, he found that almost every one reminded him of somebody he had known before, though he could not always identify the likeness.
It was a pleasure to see his yacht lying so near him, and Davy on the deck, and to hear the blows of the hammer and the swish of the plane as the carpenter went on with the alterations to which he had set him; but he got tired of sharing in activity only with his ears and eyes. One thing he had by it, however, and that was a good lesson in quiescent waiting — a grand thing for any man, and most of all for those in whom the active is strong.
The next day Florimel did not ride until after lunch, but took her maid with her to the studio, and Malcolm had a long morning with Kelpie. Once again he passed the beautiful lady in Rotten Row, but Kelpie was behaving in a most exemplary manner, and he could not tell whether she even saw him. I believe she thought her lecture had done him good. The day after that Lord Liftore was able to ride, and for some days Florimel and he rode in the park before dinner, when, as Malcolm followed on the new horse, he had to see his lordship make love to his sister without being able to find the least colorable pretext of involuntary interference.
At length the parcel he had sent for from Lossie House arrived. He had explained to Mrs. Courthope what he wanted the things for, and she had made no difficulty of sending them to the address he gave her. Lenorme had already begun the portrait, had indeed been working at it very busily, and was now quite ready for him to sit. The early morning being the only time a groom could contrive to spare — and that involved yet earlier attention to his horses — they arranged that Malcolm should be at the study every day by seven o'clock until the painter's object was gained. So he mounted Kelpie at half past six of a fine breezy spring morning, rode across Hyde Park and down Grosvenor Place, and so reached Chelsea, where he put up his mare in Lenorme's stable — fortunately, large enough to admit of an empty stall between her and the painter's grand screw, else a battle frightful to relate might have fallen to my lot.
Nothing could have been more to Malcolm's mind than such a surpassing opportunity of learning with assurance what sort of man Lenorme was; and the relation that arose between them extended the sittings far beyond the number necessary for the object proposed. How the first of them passed I must recount with some detail.
As soon as he arrived he was shown into the painter's bedroom, where lay the portmanteau he had carried thither himself the night before: out of it, with a strange mingling of pleasure and sadness, he now took the garments of his father's vanished state — the fillibeg of the dark tartan of his clan, in which green predominated; the French coat of black velvet of Genoa, with silver buttons; the bonnet, which ought to have had an eagle's feather, but had only an aigrette of diamonds; the black sporran of long goat's hair, with the silver clasp; the silver-mounted dirk, with its appendages, set all with pale cairngorms nearly as good as Oriental topazes; and the claymore of the renowned Andrew's forging, with its basket hilt of silver and its black, silver-mounted sheath. He handled each with the reverence of a son. Having dressed in them, he drew himself up with not a little of the Celt's pleasure in fine clothes, and walked into the painting-room. Lenorme started with admiration of his figure and wonder at the dignity of his carriage, while mingled with these feelings he was aware of an indescribable doubt — something to which he could give no name. He almost sprang at his palette and brushes; whether he succeeded with the likeness of the late marquis or not, it would be his own fault if he did not make a good picture. He painted eagerly and they talked little, and only about things indifferent.
At length the painter said, "Thank you! Now walk about the room while I spread a spadeful of paint: you must be tired standing."
Malcolm did as he was told, and walked straight up to the "Temple of Isis," in which the painter had now long been at work on the goddess. He recognized his sister at once, but a sudden pinch of prudence checked the exclamation that had almost burst from his lips. "What a beautiful picture!" he said. "What does it mean? Surely it is Hermione coming to life, and Leontes dying of joy. But no: that would not fit They are both too young — and —"
"You read Shakespeare, I see," said Lenorme, "as well as Epictetus."
"I do — a good deal," answered Malcolm. "But please tell me what you painted this for."
Then Lenorme told him the parable of Novalis, and Malcolm saw what the poet meant. He stood staring at the picture, and Lenorme sat working away, but a
