Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1890-11-08
aNever.n replied the painter emphatic.

SThere is q paragraph in that paper
LADY Weybridge nodded in the direction
of the Weekly Globe which Mrs. Penygan
had dropped-"which I suppose is In
tended to refer 70 you and me. 1t sug
gests-"
"Please don't turn your head, Lady
Weybridge," said Mr.. Mallett, working
diligently. 81 never read these society
journals, and don't care at all whatthey say
1t their business to get up false reports for
the amusement of the public, and one
more or less doesn't matter to anybody.
suppose anybody who chooses to think
he continued after little-"can see why
am always glad to paint you"
Indeed ?"
at is simply because you are the
most beautiful woman in the world"
"The compliment is little too undis.
guised"
at is not compliment, it is statement
of fact, absolutely true to the best of my
knowledge. l have only seen enc person
who could enter the lists against you"
"And who was she?'
"She sat to me for my 'Andromeda."
LADY Weybridge frowned passing dis
appreciation.
"a model p she exclaimed.
"Yes, but very good girl--a model OF
propriety, if you will excuse the feeble
Joke. She is now married to highly
respectable cheese-monger in the Gale
DOMAIN Road"
aAnd she doesn't sit for the figure any
more?"
81 regret to say that her husband won't
allow her to sit at all; he is the deacon of
some chapel, and has Puritanical notions"
"How dreadful !"
Eyes, the Philistinism of the English
bourgeois is deplorable."
Il sympathize with your distress. But,
to come back to the original subject, you
seem to forget that though it is quite clear,
according to your statement, why you
should like to paint me, it is not so clear
why should like to be painted"
The artist did not reply, and again
silence reigned. Again the lady broke
out:
"You are an indefatigable worker, Mr..
Mallett. But want little rest am
tired of trying to look graceful. Let me
give up attitudes for time. Take me
round your studio, and show me what
you have"
'There is nothing new" the painter
said Don't let me fatigue you; l can
Just finish this bit while you walk about
the studio-or, sit in more comfortable
chair. Perhaps you would like to look at
the paper your friend has left"
Lady Weybridge took the paper from
his hands, but did not read it. She was
watching the painter closely. Her cheek
was flushed; she moved uneasily in the
chair; her whole manner indicated rest.
lessness, which contrasted with the calm
dignity OF her previous pose. At last she
said:
"Do you know that you are hardly po-
lite, Mr.. Mallet, to leave me to my OWE
resources like thisT
doesn't the Weekly Globe interest you !?
said the painter, laying down his palette
"Shall ge. you cup of teal"
"Tea," said the lady, with ironic empha
sis. "No, thank you; women don't try tt
escape ennui by drinking something. But
you may sit down over there and talk"
She glanced at him, and then let hel
eye-lids drop. The painter stopped Sigh
yawn.
81 don't know what to talk about" hi
said.
81 was just thinking" said the lady
show long it is since [ met you first. Ii
was at DIR. Murby's, think"
He started slightly, and then said slow
ly, examining spot of paint on his velvet
coat: 81 believe it was; it was nearly ter
years ago"
"Ten years." said she, with sigh
chow time hies We are quite old friends
are we not ? That was before Clara Murby
was married, wasn't it ?'
eyes" he said; "she became the Hon
Mrs. Montcalm about year after l me
you FIRST"
you have an excellent memory, Mr.
Malle.t."
"Have l ?" he said absently.
And again the conversation tagged.
"Are you ready to sit again ?" said tn
painter.
"No," replied Lady Weybridge, i'm
patiently tapping the ground with her foo
-"no, i am not ready yet; I want to asl
you something first. Why is it"
She hesitated - her cheek flushed
deeper red, forced smile strayed upo
her lips.
"Why is it that you are $3.50 unfriend
ly"
"Unfriendlyr said the painter. q
don't understand you, Lady Weybridge.'
His tone was Indifferent; he seemed Il
be fixing his attention on the paint spot.
'Why do you avoid me, then ?" she con
4 - r-Ot m rna
Why do you refuse my invitations ?"
~ rarely go into society,"" he said, "an
l dined with you not long since"
'More than month ago." she reptile
quickly. "Are you aware that there ar
men who would do anything to get one c
those invitations that you reject SO easily !?
81 have the privilege of seeing you hers
Lady Weybridge," he replied coldly.
| She flashed an indignant look at hin
and broke out vehemently:
Eyes, here, where you have brush /
your hand, you are glad to see me; 20
like painting me, / know. You admir-
the turn Of my neck, suppose, or, pei
haps, the way my hair is done pleases yot
l am in your eyes just a model, substitut
Tor the cheesemonger's wife. As to m
thoughts, my ideas, my feelings, you don
care a straw about them. am Just a friy
olous woman of the world to you-just the
and nothing more. All am good for
to have my portrait painted" She spok
rapidly, with mounting tones.
The artist had turned away, and did nc
look at her as he replied slowly:
LADY Weybridge, you are great lady
and very beautiful: wherever YOU go, 70
get admiration, flattery, and what pass'
for love with the men and women OF tn
world. And those who throng about 20
are noble, rich, young, and they are a
your devoted admirers, your obedier
vassals and slaves. The cream and iowt
of English society is at your feet. WIS
more would you have? AS for me, l al
a plebeian. What have l to do wit
marquises and viscounts? And l don
choose to make one more in the menager
of your captive animals"
When Lady Weybridge spoke again,