for the structure, none the less, grew and grew with the interruptions. He had, on coming up to town, begun to sit for his portrait to a young painter, Mr. Rumble, whose little game, as we used to say at Mr. Pinhorn's, was to be the first to perch on the shoulders of renown. Mr. Rumble's studio was a circus in which the man of the hour, and still more the woman, leaped through the hoops of his showy frames almost as electrically as they burst into telegrams and "specials." He pranced into the exhibitions on their back; he was the reporter on canvas, the Vandyke up to date, and there was one roaring year in which Mrs. Bounder and Miss Braby, Guy Walsingham and Dora Forbes proclaimed in chorus from the same pictured walls that no one had yet got ahead of him.
Paraday had been promptly caught and saddled, accepting with characteristic good-humour his confidential hint that to figure in his show was not so much a consequence as a cause of immortality. From Mrs. Wimbush to the last "representative" who called to ascertain his twelve favourite dishes, it was the same ingenuous assumption that he would rejoice in the repercussion. There were moments when I fancied I might have had more patience with them if they had not been so fatally benevolent. I hated, at all events, Mr. Rumble's picture, and had my bottled resentment ready when, later on, I found my distracted friend had been stuffed by Mrs. Wimbush into the mouth of another cannon. A young artist in whom she was intensely interested, and who had no connection with Mr. Rumble, was to show how far he could shoot him. Poor Paraday, in return, was naturally to write something somewhere about the young artist. She played her victims against each other with admirable ingenuity, and her establishment was a huge machine in which the tiniest and the biggest wheels went round to the same treadle. I had a scene
with
