to which he himself rose to the occasion; he felt really confident that he should produce a fine thing. He was in the humour; he was charmed with his motif and deeply interested in his problem. The only point that troubled him was the idea that when he should send his picture to the Academy he should not be able to give the title, for the catalogue, simply as 'The Liar'. However, it little mattered, for he had now determined that this character should be perceptible even to the meanest intelligence—as overtopping as it had become to his own sense in the living man. As he saw nothing else in the Colonel to-day, so he gave himself up to the joy of painting nothing else. How he did it he could not have told you, but it seemed to him that the mystery of how to do it was revealed to him afresh every time he sat down to his work. It was in the eyes and it was in the mouth, it was in every line of the face and every fact of the attitude, in the indentation of the chin, in the way the hair was planted, the moustache was twisted, the smile came and went, the breath rose and fell. It was in the way he looked out at a bamboozled world in short—the way he would look out for ever. There were half a dozen portraits in Europe that Lyon rated as supreme; he regarded them as immortal, for they were as perfectly preserved as they were consummately painted. It was to this small exemplary group that he aspired to annex the canvas on which he was now engaged. One of the productions that helped to compose it was the magnificent Moroni of the National Gallery—the young tailor, in the white jacket, at his board with his shears. The Colonel was not a tailor, nor was
