casually mentioning
that I was at Baiae in his company in such-and-such a year."

"You mean, when I have painted my last!"

"No, no! It would be no pleasure to me to anticipate that time."

"But natural, in talking with a veteran."

It was against his better purpose that he let fall these words; they
contained almost a hint of his hidden self, and he had not yet allowed
anything of the kind to escape him. But the moment proved too strong.

"A veteran who fortunately gives no sign of turning grey," replied
Cecily, glancing at his hair.

An interruption from Spence put an end to this dangerous dialogue.
Mallard, inwardly growling at himself, resisted the temptation to
further _tete-a-tete_, and in a short time the party went in search of
a conveyance for their return. None offered that would hold four
persons; the ordinary public carriages have convenient room for two
only, and a separation was necessary. Mallard succeeded in catching
Spence's eye, and made him understand with a savage look that he was to
take Cecily with him. This arrangement was effected, and the first
carriage drove off with those two, Cecily exchanging merry words with
an old Italian who had rendered no kind of service, but came to beg his
_mancia_ on the strength of being able to utter a few sentences in
English.

For the first time, Mallard was alone with Mrs. Baske. Miriam had not
concealed surprise at the new adjustment of companionship; she looked
curiously both at Cecily and at Mallard whilst it was going on. The
first remark which the artist addressed to her, when they had been
driving for a few minutes, was perhaps, she thought, an explanation of
the proceeding.

"I shall meet your brother again at Pompeii to-morrow, Mrs. Baske."

"Have you seen much of him since he came!" Miriam asked constrainedly.
She had not met Mallard since Reuben's arrival.

"Oh yes. We have dined together each evening."

Between two such unloquacious persons, dialogue was naturally slow at
first, but they had a long drive before them. Miriam presently trusted
herself to ask,--

"Has he spoken to you at all of his plans--of what he is going to do
when he returns to England?"

"In general terms only. He has literary projects."

"Do you put any faith in them, Mr. Mallard?"

This was a sudden step towards intimacy. As she spoke, Miriam looked at
him in a way that he felt to be appealing. He answered the look frankly.

"I think he has the power to do so