remarkable, so perfect in feature, so graceful in every outline that the artist exhibited them in his studio.
Little wonder it was that every one who passed the show case stopped spell-bound by the youthful beauty of the subject; little wonder that Charles Dana Gibson, then in the zenith of his success, with his studies of the American girl, looked upon Evelyn's photographs in rapture and wished immediately to meet the original and arrange to have her pose for him.
One day as the little model was about to leave the studio she was met by a man about to enter the door.
By jove! Gibson, who is this little vision of the empyrean blue? Tell me. I must know the little sprite, whether she is of this earth or just a fairy from out of wonderland," the man added, lightly, as he held the girl a shy and pretty captive at the door.
The usual unconventional studio introduction followed. The man who gasped in admiration of the exquisite flower-like beauty of the young girl was Stanford White, the renowned architect; the girl was Florence Evelyn Nesbit, artist's model.
The man of the world saw in the innocent young thing an easy victim to his wiles, and opportunities were made for him to meet the girl, whom he planned to make his puppet, his plaything, his slave.
His efforts were not long in being crowned by success. The pretty trinkets which the girl loved so well were hers with the first expression of her desire; she was flattered when she realized from whom she was
