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Rh ney,” and then naturally to “Tidbits” where it was arrested by Clifford’s authority and ultimately relapsed to “Kid.”

Wednesday came, and with it M. Boulanger. For three hours the students writhed under his biting sarcasms,—among the others Clifford, who was informed that he knew even less about a work of art than he did about the art of work. Selby was more fortunate. The professor examined his drawing in silence, looked at him sharply, and passed on with a noncommittal gesture. He presently departed arm in arm with Bouguereau, to the relief of Clifford who was then at liberty to jam his hat on his head and depart.

The next day, he did not appear, and Selby, who had counted on seeing him at the studio, a thing which he learned later it was vanity to count on, wandered back to the Latin Quarter alone.

Paris was still strange and new to him. He was vaguely troubled by its splendor. No tender memories stirred his American bosom at the Place du Châtelet, nor even by Notre Dame. The Palais de Justice with its clock and turrets and stalking sentinels in blue and vermilion, the Place St. Michel with its jumble of omnibuses and ugly water-spitting griffins, the hill of the Boulevard St. Michel, the tooting trams, the policemen dawdling two by two, and the table-lined terraces of the Café Vachette, were nothing to him, as yet, nor did he even know, when he stepped from the stones of the Place St. Michel to the asphalt of the Boulevard, that he had crossed the frontier and entered the student zone,—the famous Latin Quarter.

A cabman hailed him as “bourgeois,” and