The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1916-03-09


OF intense relief crossed his face.
Send q wire to Mr.. Crawley at
once" he said. asking him to come
here Immediately"
Then he returned to the "Cifce''
salon.
Crawley finished his breakfast in A
state OF comparative ease Of mind. He
did not fully realize his danger, and
there had undoubtedly been q certain
sort OF satisfaction In the result OF
his interview with Mr.. Leveredge.
His was a nature which demanded
the unusual, the romantic, the bizarre;
and his early morning conversation
with the great picture dealer had thor.
oughly satisfied his demands. More
over. he could not help being very
glad that he had been able to witness
Mr.. Leveredge's discontinue; and. at
the same time, he looked forward with
q stocial calm and philosophic indif
ference to what all the time he real.
lied to be the Inevitable.
And the inevitable, as far as Mr..
Leveredge was concerned, was that
man would discover that some one had
~~~~
precious "Circe."
He Had Made an
Entirely New Face.
From a purely artistic point of view
II was. In Crawley's erudfte mind, a
moot point whether or not he had ac-
tually improved the picture. Hence
his singular and unqualified citation
OF spirit on this sunny Spring morn
ing. He had not mutilated the "Circe;
he had not spoiled 1t. The picture, de-
spite his forebodings, was still great
work OF art. He had been inspired
last night. Some invisible and in
tangible power had guided his hand.
True, 1t was that he had obliterated
all trace OF any likeness In his "Circe"
to Mrs. Godfrey Brooke. and true also
II was that she stood to him, as she
had always. done from the very mo-
ment he had first looked into her
wonderful face, for the incarnation of
earthly loneliness, the incarnation Of
beauty, the most superbly beautiful
woman his imagination had ever con-
jured still for all that, he had not
spoiled Leveredge's "Circe"-not from
an artistic point Of view.
Last night he hal witnessed tour
de force. In two or three hours Of
diligent painting he had produced an
other "Circe." He had painted by cleo
trio light. and under the influence of
intense excitement and conflicting
emotions. Like giant he had, for
the sake of himself and Brooke, and
incidentally Zoe, crushed all the per-
sonal feeling from his mind, and had
kept the artistic idea before him. But
because his artistic nature told him
that he had triumphed against the
overwhelming odds he was singularly
glad and content.
A year or more before Zoe had
come into his life to hurl tragedy
across his path. he had painted a great
deal from quite different model-a
beautiful girl In her way. with lovely
face, and copper-red hair. That she
had bad teeth and very pronounced
Cockney accept had not troubled him.
She was young fresh and obedient.
She also knew her business, as her
mother and grandmother had done be-
fore her.
Her name was Folly Martin. Her
mother had sat to Leighton and Mil
lais, and to Franz Struck. Her grand
mother had been immortalized by the
mid Victorians. She hung In the gal
leries Of half dozen European art
centres.
The models real name was Eliza
Mary Jane Martin, and she lived with
her maternal relative in Chelsea. She
was eminently respectable, and only
sat by her mothers permission to
certain fully approved and very fav-
ored painters. Among these was Mr..
Noel Crawley, to whom, indeed, it was
an honor to sit.
Her name of Folly, by which the
girl was known to the brethren of the
brush, had been originally given to
her by the South kensington students,
and had been confirmed by Paris and
Munich, both of which Miss Martin
knew we'll.
Crawley knew the girls face by
heart. and 1t was her face, slightly al
tered. which he had painted on to the
Leveredge "Circe" He smiled to him
self as he thought of Leveredge's
chargin: but the smile died abruptly
with the realization of the denoue-
ment impending
He finished his breakfast. wrote
two or three letters, and started off
for constitutional, with no particu-
lar object In his mind, save vague