CONFIDENCE
to take up her position. "You must tell me if this will do," she added, in a moment.
"It will do beautifully," Longueville answered, in a happy tone, looking at her and plying his brush. "It is immensely good of you to take so much trouble."
For a moment she made no rejoinder, but presently she said—
"Of course, if I pose at all, I wish to pose well."
"You pose admirably," said Longueville.
After this she said nothing, and for several minutes he painted rapidly and in silence. He felt a certain excitement, and the movement of his thoughts kept pace with that of his brush. It was very true that she posed admirably; she was a fine creature to paint. Her prettiness inspired him, and also her audacity, as he was content to regard it for the moment. He wondered about her—who she was, and what she was—perceiving that the so-called audacity was not vulgar boldness, but the play of an original and probably interesting character. It was obvious that she was a perfect lady, but it was equally obvious that she was irregularly clever. Longueville's little figure was a success—a charming success, he thought, as he put on the last touches. While he was doing this, his model's companion came into view. She came out of the church, pausing a moment as she looked from her daughter to the young man in the corner of the terrace: then she walked straight over to the young girl. She was a delicate little gentlewoman, with a light, quick step.
Longueville's five minutes were up; so, leaving his place, he approached the two ladies, sketch in hand. The elder one, who had passed her hand into her daughter's arm, looked up at him with clear, surprised eyes; she was a charming old woman.
9
