Without going into the question of what HAD been looked for, I saw at this rate I shouldn't get the other books to do. I hurled myself in despair upon Miss Churm, I put her through all her paces. I not only adopted Oronte publicly as my hero, but one morning when the Major looked in to see if I didn't require him to finish a figure for the Cheapside, for which he had begun to sit the week before, I told him that I had changed my mind--I would do the drawing from my man. At this my visitor turned pale and stood looking at me. "Is HE your idea of an English gentleman?" he asked.

I was disappointed, I was nervous, I wanted to get on with my work; so I replied with irritation: "Oh, my dear Major--I can't be ruined for YOU!"

He stood another moment; then, without a word, he quitted the studio.

I drew a long breath when he was gone, for I said to myself that I shouldn't see him again. I had not told him definitely that I was in danger of having my work rejected, but I was vexed at his not having felt the catastrophe in the air, read with me the moral of our fruitless collaboration, the lesson that, in the deceptive atmosphere of art, even the highest respectability may fail of being plastic.

I didn't owe my friends money, but I did see them again. They re- appeared together, three days later, and under the circ.u.mstances there was something tragic in the fact. It was a proof to me that they could find nothing else in life to do. They had threshed the matter out in a dismal conference--they had digested the bad news that they were not in for the series. If they were not useful to me even for the Cheapside their function seemed difficult to determine, and I could only judge at first that they had come, forgivingly, decorously, to take a last leave. This made me rejoice in secret that I had little leisure for a scene; for I had placed both my other models in position together and I was pegging away at a drawing from which I hoped to derive glory. It had been suggested by the pa.s.sage in which Rutland Ramsay, drawing up a chair to Artemisia's piano- stool, says extraordinary things to her while she ostensibly fingers out a difficult piece of music. I had done Miss Churm at the piano before--it was an att.i.tude in which she knew how to take on an absolutely poetic grace. I wished the two figures to "compose"

together, intensely, and my little Italian had entered perfectly into my conception. The pair were vividly before me, the piano had been pulled out; it was a charming picture of blended youth and murmured love, which I had only to catch and keep. My visitors stood and looked at it, and I was friendly to them over my shoulder.

They made no response, but I was used to silent company and went on with my work, only a little disconcerted (even though exhilarated by the sense that THIS was at least the ideal thing), at not having got rid of them after all. Presently I heard Mrs. Monarch's sweet voice beside, or rather above me: "I wish her hair was a little better done." I looked up and she was staring with a strange fixedness at Miss Churm, whose back was turned to her. "Do you mind my just touching it?" she went on--a question which made me spring up for an instant, as with the instinctive fear that she might do the young lady a harm. But she quieted me with a glance I shall never forget-- I confess I should like to have been able to paint THAT--and went for a moment to my model. She spoke to her softly, laying a hand upon her shoulder and bending over her; and as the girl, understanding, gratefully a.s.sented, she disposed her rough curls, with a few quick pa.s.ses, in such a way as to make Miss Churm's head twice as charming.

It was one of the most heroic personal services I have ever seen rendered. Then Mrs. Monarch turned away with a low sigh and, looking about her as if for something to do, stooped to the floor with a n.o.ble humility and picked up a dirty rag that had dropped out of my paint-box.

The Major meanwhile had also been looking for something to do and, wandering to the other end of the studio, saw before him my breakfast things, neglected, unremoved. "I say, can't I be useful HERE?" he called out to me with an irrepressible quaver. I a.s.sented with a laugh that I fear was awkward and for the next ten minutes, while I worked, I heard the light clatter of china and the tinkle of spoons and gla.s.s. Mrs. Monarch a.s.sisted her husband--they washed up my crockery, they put it away. They wandered off into my little scullery, and I afterwards found that they had cleaned my knives and that my slender stock of plate had an unprecedented surface. When it came over me, the latent eloquence of what they were doing, I confess that my drawing was blurred for a moment--the picture swam. They had accepted their failure, but they couldn't accept their fate. They had bowed their heads in bewilderment to the perverse and cruel law in virtue of which the real thing could be so much less precious than the unreal; but they didn't want to starve. If my servants were my models, my models might be my servants. They would reverse the parts--the others would sit for the ladies and gentlemen, and THEY would do the work. They would still be in the studio--it was an intense dumb appeal to me not to turn them out. "Take us on," they wanted to say--"we'll do ANYTHING."

When all this hung before me the afflatus vanished--my pencil dropped from my hand. My sitting was spoiled and I got rid of my sitters, who were also evidently rather mystified and awestruck. Then, alone with the Major and his wife, I had a most uncomfortable moment, He put their prayer into a single sentence: "I say, you know--just let US do for you, can't you?" I couldn't--it was dreadful to see them emptying my slops; but I pretended I could, to oblige them, for about a week. Then I gave them a sum of money to go away; and I never saw them again. I obtained the remaining books, but my friend Hawley repeats that Major and Mrs. Monarch did me a permanent harm, got me into a second-rate trick. If it be true I am content to have paid the price--for the memory.