CONFIDENCE
"That you should give us your sketch," she said at last.
"It was to your mother I offered it," Longueville observed.
But this observation, the fruit of his irritation, appeared to have no effect upon the young girl.
"Isn't it what painters call a study?" she went on. "A study is of use to the painter himself. Your justification would be that you should keep your sketch, and that it might be of use to you."
"My daughter is a study, sir, you will say," said the elder lady in a little light, conciliating voice, and graciously accepting the drawing again.
"I will admit," said Longueville, "that I am very inconsistent. Set it down to my esteem, madam," he added, looking at the mother.
"That's for you, mamma," said his model, disengaging her arm from her mother's hand and turning away.
The mamma stood looking at the sketch with a smile which seemed to express a tender desire to reconcile all accidents.
"It's extremely beautiful," she murmured, "and if you insist on my taking it—"
"I shall regard it as a great honour."
"Very well, then; with many thanks, I will keep it." She looked at the young man a moment, while her daughter walked away. Longueville thought her a delightful little person; she struck him as a sort of transfigured Quakeress—a mystic with a practical side. "I am sure you think she's a strange girl," she said.
"She is extremely pretty."
"She is very clever," said the mother.
"She is wonderfully graceful."
"Ah, but she is good!" cried the old lady.
"I am sure she comes honestly by that," said
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