Red Money. Hume Fergus

to all canons of beauty. It was a gypsy countenance, and there lurked in its loveliness that wild, untamed look which suggested unrestricted roamings and the spacious freedom of the road.

      The sudden, jealous fear which surged into Miss Greeby's heart climbed to her throat and choked her speech. But she had wisdom enough to check unwise words, and glanced round the studio to recover her composure. The room was small and barely furnished; a couch, two deep arm-chairs, and a small table filled its limited area. The walls and roof were painted a pale green, and a carpet of the same delicate hue covered the floor. Of course, there were the usual painting materials, brushes and easel and palettes and tubes of color, together with a slightly raised platform near the one window where the model could sit or stand. The window itself had no curtains and was filled with plain glass, affording plenty of light.

      "The other windows of the cottage are latticed," said Lambert, seeing his visitor's eyes wander in that direction. "I had that glass put in when I came here a month ago. No light can filter through lattices – in sufficient quantity that is – to see the true tones of the colors."

      "Oh, bother the window!" muttered Miss Greeby restlessly, for she had not yet gained command of her emotions.

      Lambert laughed and looked at his picture with his head on one side, and a very handsome head it was, as Miss Greeby thought. "It bothered me until I had it put right, I assure you. But you don't seem pleased with my crib."

      "It's not good enough for you."

      "Since when have I been a sybarite, Clara?"

      "I mean you ought to think of your position."

      "It's too unpleasant to think about," rejoined Lambert, throwing himself on the couch and producing his pipe. "May I smoke?"

      "Yes, and if you have any decent cigarettes I'll join you. Thanks!" She deftly caught the silver case he threw her. "But your position?"

      "Five hundred a year and no occupation, since I have been brought up to neither trade nor profession," said Lambert leisurely. "Well?"

      "You are the heir to a title and to a large property."

      "Which is heavily mortgaged. As to the title" – Lambert shrugged his shoulders – "Garvington's wife may have children."

      "I don't think so. They have been married ten years and more. You are certain to come in for everything."

      "Everything consists of nothing," said the artist coolly.

      "Well," drawled Miss Greeby, puffing luxuriously at her cigarette, which was Turkish and soothing, "nothing may turn into something when these mortgages are cleared off."

      "Who is going to clear them off?"

      "Sir Hubert Pine."

      Lambert's brows contracted, as she knew they would when this name was mentioned, and he carefully attended to filling his pipe so as to avoid meeting her hard, inquisitive eyes. "Pine is a man of business, and if he pays off the mortgages he will take over the property as security. I don't see that Garvington will be any the better off in that case."

      "Lambert," said Miss Greeby very decidedly, and determined to know precisely what he felt like, "Garvington only allowed his sister to marry Sir Hubert because he was rich. I don't know for certain, of course, but I should think it probable that he made an arrangement with Pine to have things put straight because of the marriage."

      "Possible and probable," said the artist shortly, and wincing; "but old friend as you are, Clara, I don't see the necessity of talking about business which does not concern me. Speak to Garvington."

      "Agnes concerns you."

      "How objectionably direct you are," exclaimed Lambert in a vexed tone. "And how utterly wrong. Agnes does not concern me in the least. I loved her, but as she chose to marry Pine, why there's no more to be said."

      "If there was nothing more to be said," observed Miss Greeby shrewdly, "you would not be burying yourself here."

      "Why not? I am fond of nature and art, and my income is not enough to permit my living decently in London. I had to leave the army because I was so poor. Garvington has given me this cottage rent free, so I'm jolly enough with my painting and with Mrs. Tribb as housekeeper and cook. She's a perfect dream of a cook," ended Lambert thoughtfully.

      Miss Greeby shook her red head. "You can't deceive me."

      "Who wants to, anyhow?" demanded the man, unconsciously American.

      "You do. You wish to make out that you prefer to camp here instead of admitting that you would like to be at The Manor because Agnes – "

      Lambert jumped up crossly. "Oh, leave Agnes out of the question. She is Pine's wife, so that settles things. It's no use crying for the moon, and – "

      "Then you still wish for the moon," interpolated the woman quickly.

      "Not even you have the right to ask me such a question," replied Lambert in a quiet and decisive tone. "Let us change the subject."

      Miss Greeby pointed to the beautiful face smiling on the easel. "I advise you to," she said significantly.

      "You seem to have come here to give me good advice."

      "Which you won't take," she retorted.

      "Because it isn't needed."

      "A man's a man and a woman's a woman."

      "That's as true as taxes, as Mr. Barkis observed, if you are acquainted with the writings of the late Charles Dickens. Well?"

      Again Miss Greeby pointed to the picture. "She's very pretty."

      "I shouldn't have painted her otherwise."

      "Oh, then the original of that portrait does exist?"

      "Could you call it a portrait if an original didn't exist?" demanded the young man tartly. "Since you want to know so much, you may as well come to the gypsy encampment on the verge of the wood and satisfy yourself." He threw on a Panama hat, with a cross look. "Since when have you come to the conclusion that I need a dry nurse?"

      "Oh, don't talk bosh!" said Miss Greeby vigorously, and springing to her feet. "You take me at the foot of the letter and too seriously. I only came here to see how my old pal was getting on."

      "I'm all right and as jolly as a sandboy. Now are you satisfied?"

      "Quite. Only don't fall in love with the original of your portrait."

      "It's rather late in the day to warn me," said Lambert dryly, "for I have known the girl for six months. I met her in a gypsy caravan when on a walking tour, and offered to paint her. She is down here with her people, and you can see her whenever you have a mind to."

      "There's no time like the present," said Miss Greeby, accepting the offer with alacrity. "Come along, old boy." Then, when they stepped out of the cottage garden on to the lawns, she asked pointedly, "What is her name?"

      "Chaldea."

      "Nonsense. That is the name of the country."

      "I never denied that, my dear girl. But Chaldea was born in the country whence she takes her name. Down Mesopotamia way, I believe. These gypsies wander far and wide, you know. She's very pretty, and has the temper of the foul fiend himself. Only Kara can keep her in order."

      "Who is Kara?"

      "A Servian gypsy who plays the fiddle like an angel. He's a crooked-backed, black-faced, hairy ape of a dwarf, but highly popular on account of his music. Also, he's crazy about Chaldea, and loves her to distraction."

      "Does she love him?" Miss Greeby asked in her direct fashion.

      "No," replied Lambert, coloring under his tan, and closed his lips firmly. He was a very presentable figure of a man, as he walked beside the unusually tall woman. His face was undeniably handsome in a fair Saxon fashion, and his eyes were as blue as those of Miss Greeby herself, while his complexion was much more delicate. In fact, she considered that it was much too good a complexion for one of the male sex, but admitted inwardly that its possessor was anything but effeminate, when he had such a heavy jaw, such a firm chin, and such set lips. Lambert, indeed, at first sight did indeed look so amiable, as to appear