a distinct promise of reward is attached; it
is that which bids us honour our fathers and our mothers. Good-day,
sir.'

IX

THE PALACE OF NIN-KI-GAL

I

Shortly after this I met my mother at our solicitor's office
according to appointment. As she was on the eve of departing for the
Continent, it was necessary that various family matters should be
arranged. On the day following, as I was about to leave my hotel to
call at Cyril's studio, rather doubtful, after the frivolity I had
lately witnessed, as to whether or not I should unburden my heart to
such a man, he entered my room in company with Wilderspin, the latter
carrying a parcel of books.

'I have brought your father's works,' Wilderspin said.

'Thank you very much,' I replied, taking the books. 'And when am I to
call and see your picture? Have you yet got it back from the owner?'

'"Faith and Love" is now in my studio,' he replied; 'but I will ask
you not to call upon me yet for a few days. I hope to be too busily
engaged upon another picture to afford a moment to any one save the
model--that is,' he added with a sigh, 'should she make her
appearance.'

'A picture of his called "Ruth and Boaz,"' interposed Cyril.
'Wilderspin is repainting the face from that favourite model of his
of whom you heard so much in Wales. But the fact is the model is
rather out of sorts at this moment, and Wilderspin is fearful that
she may not turn up to-day. Hence the melancholy you see on his face.
I try to console him, however, by assuring him that the daughter of a
mamma with such a sharp appreciation of half-crowns as the lady you
saw at my studio the other day is sure to turn up in due time as
sound as a roach.'

Wilderspin shook his head gravely.

'Good heavens!' I muttered, 'when am I to hear the last of painters'
models?' Then turning to Wilderspin, I said,

'This is the model to whom you feel so deeply indebted?'

'Deeply indebted, indeed!' exclaimed he in a fervid tone, taking a
chair and playing with his hat between his knees, in his previous
fashion when beginning one of his monologues. 'When I began "Faith
and Love" I worked for weeks and months and years, having but one
thought, how to give artistic rendering to the great idea of the
Renascence of Wonder in Art symbolised in the vignette in your
father's third edition. I was very poor then; but to live upon bread
and water and paint a great picture, and know that you are being
watched by loving eyes