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Paris, May, 1908.

had been complaining that her new teacher in advanced French diction was very ill-natured and exacting, and had asked Marise to go with her to a lesson to back her up in a protest against his unreasonable demands.

The two girls drove up to the Français in Eugenia's inevitable cab, and leaving her inevitable maid to wait in it, passed through the dingy little side-door into an ill-lighted corridor and felt their way toilsomely up a stair-way not lighted at all. A dingy, stone-colored corridor with painted and numbered doors on each side, like a needy old-man's home or ill-kept reformatory. A knock at one of these, opened by a bald, pale, elderly man, with a knobby nose and several chins, A tiny, cluttered, stuffy room, with a lumpy sofa, two chairs, an easel and a window.

After her presentation to M. Vaudoyer, Marise sat down on one of the hard chairs to await developments. The actor was in a long, paint-stained blouse, and excused himself by saying that his pupil was a little ahead of time, "A real American," he said, smiling at both of them. He had been painting, he explained, waving a wrinkled old hand towards a canvas on an easel.

"Oh, you are twice an artist," remarked Marise, doing as she had been taught to do, automatically turning a pretty speech. As a matter of fact, she thought the sketch anything but artistic.

The old man's face clouded. "To be a painter, that was all I ever wanted," he said, looking with affection at the very mediocre landscape, and adding sadly, "All my life … all my life." 364