wo will study the effects, and then I will carry off a bundle in my
arms with joy and gratitude. By the way, I shall expect you at my
_soiree_!"

"Oh! you know that I always work in the evening."

"What has that to do with it? You need not work unless you choose.
Come--there will be ladies there!"

CHAPTER XLVII.

JANE ZELD.

A thoroughly artistic atmosphere was that of Sabrau's studio. There was
not a picture nor a picture frame, a bronze nor a bit of china that did
not attract attention. Uniformity had been carefully avoided--all tints,
all forms, blended into one original whole.

Goutran had arranged the place with his own hands for the fete, which,
as Goutran said, had a double aim. He wished not only to return the
princely hospitality he had received, but to make of the affair a
private exhibition of the works of his young friends; he himself only
hung his gipsy. Rachel Marstens, the great actress, assisted by Emma
Bruges, consented to do the honors. Every artistic celebrity accepted
his invitations. Even the critics came, and were amiable.

Comte Velleni was among the earliest arrivals. He was a fine-looking old
man, and extremely courteous to all the young artists, and as he was
very wealthy, his compliments on their work excited many hopes. He was
not alone. He was accompanied by his secretary, by whom the young
painters were not favorably impressed. His eyes were deep-set under
bushy eyebrows, his hair and beard were black as jet.

"A bad looking fellow!" murmured one to another.

The age of this individual was uncertain--he might have been fifty. A
deep scar ran across one cheek. His expression was crafty, his eyes
shifting, and he kept in the background.

There was a little stir when Monsieur and Mademoiselle de Laisangy were
announced, for that same morning the official journal of the empire had
announced the opening of the Banque de Credit Imperial, with a capital
of sixty million. Monsieur de Laisangy was the director of this new
bank.

Goutran advanced to meet this gentleman with an eagerness that would
have marred the interest which we feel in him had it not been explained
by the presence of the charming daughter of the banker, Carmen de
Laisangy.

Goutran had painted Carmen's portrait, which had excited much
commendation at the Salon, to which fact was probably due the presence
of the banker and his daughter at this _soiree_.

Carmen had no mother, and she had been brought up so