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Her earnestness aroused in Tryon a sudden flame of sympathy which had its origin, as he well knew, in three years of growing love. This love leaped up now determinedly–perhaps unwisely; but what should a blunt soul like Hugh Tryon know regarding the best or worst time to seek a woman’s heart? He came close to her now and said: “If you are so kind in thought for a convict, I dare hope that you would be more kind to me.”

“Be kind to you,” she repeated, as if not understanding what he said, nor the look in his eyes.

“For I am a prisoner, too.”

“A prisoner?” she rejoined a little tremulously, and coldly.

“In your hands, Marie.” His eyes laid bare his heart.

“Oh!” she replied, in a half-troubled, half-indignant tone, for she was out of touch with the occasion of his suit, and every woman has in her mind the time when she should and when she should not be wooed. “Oh, why aren’t you plain with me? I hate enigmas.”

“Why do I not speak plainly? Because, because, Marie, it is possible for a man to be a coward in his speech”–he touched her fingers–“when he loves.” She quickly drew her hand from his. “Oh, can’t we be friends without that?”

There was a sound of footsteps at the window. Both turned, and saw the political prisoner, Rive Laflamme, followed by a guard.

“He comes to finish my portrait,” she said. “This is the last sitting.”

“Marie, must I go like this? When may I see you again? When will you answer me? You will not make all the hopes to end here?”

It was evident that some deep trouble was on the girl. She flushed hotly, as if she were about to reply hotly also, but she changed quickly, and said, not unkindly: “When M. Laflamme has gone.” And now, as if repenting of her unreasonable words of a moment before, she added: “Oh, please don’t think me hard. I am sorry that I grieve you. I’m afraid I am not altogether well, not altogether happy.”

“I will wait till he has gone,” the planter replied. At the door he turned as if to say something, but he only looked steadily, sadly at her, and then was gone.

She stood where he had left her, gazing in melancholy abstraction at the door through which he had passed. There were footsteps without in the hall-way. The door was opened, and a servant announced M. Laflamme. The painter-prisoner entered followed by the soldier. Immediately afterward Mrs. Angers, Marie’s elderly companion, sidled in gently.

Laflamme bowed low, then turned and said coolly to the soldier: “You may wait outside to-day, Roupet. This is my last morning’s work. It is important, and you splutter and cough. You are too exhausting for a studio.”

But Roupet answered: “Monsieur, I have my orders.”

“Nonsense. This is the Governor’s house. I am perfectly safe here. Give your orders a change of scene. You would better enjoy the refreshing coolness of the corridors this morning. You won’t? Oh, yes, you will. Here’s a cigarette–there, take the whole bunch–I paid too much for them, but no matter. Ah, pardon me, mademoiselle. I forgot that you cannot smoke here, Roupet; but you shall have them all the same, there! Parbleu! you are a handsome rascal, if you weren’t so wheezy! Come, come, Roupet, make yourself invisible.”

The eyes of the girl were on the soldier. They did the work better; a warrior has a soft place in his heart for a beautiful woman. He wheeled suddenly, and disappeared from the room, motioning that he would remain at the door.

The painting began, and for half an hour or more was continued without a word. In the silence the placid Angers had fallen asleep.

Nodding slightly towards her, Rive Laflamme said in a low voice to Marie: “Her hearing at its best is not remarkable?”

“Not remarkable.”

He spoke more softly. “That is good. Well, the portrait is done. It has been the triumph of my life to paint it. Not that first joy I had when I won the great prize in Paris equals it. I am glad: and yet–and yet there was much chance that it would never be finished.”