near which, before an easel, stood a long-haired gentleman of foreign and artistic aspect, giving the finishing touches to a portrait in crayons. Hubert was in position for a likeness of his handsome face. When Nora appeared, his handsome face remained for a moment a blank; the next it turned most eloquently pale. "Miss Lambert!" he cried.
There was such a tremor in his voice that Nora felt that, for the moment, she must have self-possession for both. "I interrupt you," she said with extreme deference.
"We are just finishing!" Hubert answered. "It is my portrait, you see. You must look at it." The artist made way for her before the easel, laid down his implements, and took up his hat and gloves. She looked mechanically at the picture, while Hubert accompanied him to the door, and they talked awhile about another sitting, and about a frame that was to be sent home. The portrait was clever, but superficial; better looking, at once, and worse looking than Hubert,—elegant, effeminate, unreal. An impulse of wonder passed through her mind that she should happen just then to find him engaged in this odd self-reproduction. It was a different Hubert that turned and faced her as the door closed behind his companion, the real, the familiar Hubert. He had gained time; but surprise, admiration, conjecture, a lively suggestion of dismay, were shining in his handsome eyes. Nora had dropped into the chair vacated by the artist; and as she sat there with clasped hands, she felt the young man reading the riddle of her shabby dress and her excited face. For him, too, she was the real
