drive had inspired her to several notable and syncopated outbursts, now left her unmoved.
She thought that at last she perceived the secret working of that Providence which ever dances attendance at the elbow of accomplished womankind. Following the lead set by “H. C.” in the Planet (“H. C.” was Helen Cumberly’s nom de plume) and by Crocket in the Daily Monitor, the London Press had taken Olaf van Noord to its bosom; and his exhibition in the Little Gallery was an established financial success, whilst “Our Lady of the Poppies” (which had, of course, been rejected by the Royal Academy) promised to be the picture of the year.
Mentally, Denise Ryland was again surveying that remarkable composition; mentally she was surveying Olaf van Noord’s model, also. Into the scheme slowly forming in her brain, the yellow-wrapped cigarette containing “a small percentage of opium” fitted likewise. Finally, but not last in importance, the Greek gentleman, Mr. Gianapolis, formed a unit of the whole.
Denise Ryland had always despised those detective creations which abound in French literature; perceiving in their marvelous deductions a tortured logic incompatible with the classic models. She prided herself upon her logic, possibly because it was a quality which she lacked, and probably because she confused it with intuition, of which, to do her justice, she possessed an unusual share. Now,
