didn’t penetrate, and a balcony of dark, richly carved oak, screened and curtained, stretched across the front end of the studio.
At the other end a broad fireplace was flanked by a tall screen of Spanish leather which glowed warmly where the light found it. A white bearskin was laid in front of it. Other rugs were scattered here and there, queer, low-toned prayer rugs many of them, with tattered borders and silky sheen. The walls were hung with tapestries against which was the dull glitter of armor. Strange vessels of pottery and copper and brass stood about, and two big, black oak chests, elaborately carved, half hidden by silken cushions and embroideries, guarded the fireplace. There was a dais under the skylight, and on it was a chair. At a little distance was a big easel holding a canvas, and beside it a cabinet for paints and brushes. There were few pictures in sight, but over the room hung a faint and not unpleasant odor of paint and oil and turpentine.
At one of the broad, low windows—there were only two and both were wide open—was a great jar of yellow roses. Under the window was a wide seat upholstered in green leather and piled
