Page:The Tragic Muse (London & New York, Macmillan & Co., 1890), Volume 2.djvu/145

 XI.

brought her, the great modern personage as he had described her, the very next day, and it took Nick Dormer but a short time to appreciate his declaration that Miriam Rooth was splendid. She had made an impression upon him ten months before, but it had haunted him only for a day, immediately overlaid with other images. Yet after Nash had spoken of her a few moments he evoked her again; some of her attitudes, some of her tones began to hover before him. He was pleased in advance with the idea of painting her. When she stood there in fact however it seemed to him that he had remembered her wrong: the brilliant young lady who instantly filled his studio with a presence that it had never known was exempt from the curious clumsiness which had interfused his former admiration of her with a certain pity. Miriam Rooth was light and bright and straight to-day—straight without being stiff and bright without being garish. To Nick's perhaps inadequately sophisticated mind the model, the actress were figures with a vulgar setting; but it would have been impossible to show that taint less than his present extremely natural yet extremely distinguished visitor. She was more natural even than Gabriel Nash ("nature" was still Nick's formula for his old friend), and beside her he appeared almost commonplace.