d, he continued to shift his eyes watchfully between
his handiwork and the fat model, who sat at the far end of the studio
in a state of nature, with one arm gallantly arched above her head. My
errand would have been difficult enough under the best of circumstances:
placed between Myner, immersed in his art, and the white, fat, naked
female in a ridiculous attitude, I found it quite impossible. Again and
again I attempted to approach the point, again and again fell back on
commendations of the picture; and it was not until the model had enjoyed
an interval of repose, during which she took the conversation in her
own hands and regaled us (in a soft, weak voice) with details as to her
husband's prosperity, her sister's lamented decline from the paths
of virtue, and the consequent wrath of her father, a peasant of stern
principles, in the vicinity of Chalons on the Marne;--it was not, I say,
until after this was over, and I had once more cleared my throat for
the attack, and once more dropped aside into some commonplace about the
picture, that Myner himself brought me suddenly and vigorously to the
point.

"You didn't come here to talk this rot," said he.

"No," I replied sullenly; "I came to borrow money."

He painted awhile in silence.

"I don't think we were ever very intimate?" he asked.

"Thank you," said I. "I can take my answer," and I made as if to go,
rage boiling in my heart.

"Of course you can go if you like," said Myner; "but I advise you to
stay and have it out."

"What more is there to say?" I cried. "You don't want to keep me here
for a needless humiliation?"

"Look here, Dodd, you must try and command your temper," said he. "This
interview is of your own seeking, and not mine; if you suppose it's not
disagreeable to me, you're wrong; and if you think I will give you money
without knowing thoroughly about your prospects, you take me for a fool.
Besides," he added, "if you come to look at it, you've got over the
worst of it by now: you have done the asking, and you have every reason
to know I mean to refuse. I hold out no false hopes, but it may be worth
your while to let me judge."

Thus--I was going to say--encouraged, I stumbled through my story; told
him I had credit at the cabman's eating-house, but began to think it was
drawing to a close; how Dijon lent me a corner of his studio, where I
tried to model ornaments, figures for clocks, Time with the scythe, Leda
and the swan, musketeers for ca