to
clothe her in mail, the innocence being positive, the guilt so vapoury.
But she was armed only if necessary, and there was no requirement for
armour. Emma did not question at all. She saw the alteration in her
Tony: she was too full of the tragic apprehensiveness, overmastering her
to speak of trifles. She had never confided to Tony the exact nature and
the growth of her malady, thinking it mortal, and fearing to alarm her
dearest.

A portion of the manuscript was read out by Arthur Rhodes in the
evening; the remainder next morning. Redworth perceptibly was the model
of the English hero; and as to his person, no friend could complain of
the sketch; his clear-eyed heartiness, manliness, wholesomeness--a word
of Lady Dunstane's regarding him,--and his handsome braced figure, were
well painted. Emma forgave the insistance on a certain bluntness of the
nose, in consideration of the fond limning of his honest and expressive
eyes, and the 'light on his temples,' which they had noticed together.
She could not so easily forgive the realistic picture of the man: an
exaggeration, she thought, of small foibles, that even if they existed,
should not have been stressed. The turn for 'calculating' was shown up
ridiculously; Mr. Cuthbert Dering was calculating in his impassioned
moods as well as in his cold. His head was a long division of ciphers.
He had statistics for spectacles, and beheld the world through them, and
the mistress he worshipped.

'I see,' said Emma, during a pause; 'he is a Saxon. You still affect to
have the race en grippe, Tony.'

'I give him every credit for what he is,' Diana replied. 'I admire the
finer qualities of the race as much as any one. You want to have them
presented to you in enamel, Emmy.'

But the worst was an indication that the mania for calculating in
and out of season would lead to the catastrophe destructive of his
happiness. Emma could not bear that. Without asking herself whether it
could be possible that Tony knew the secret, or whether she would have
laid it bare, her sympathy for Redworth revolted at the exposure. She
was chilled. She let it pass; she merely said: 'I like the writing.'

Diana understood that her story was condemned.

She put on her robes of philosophy to cloak discouragement. 'I am glad
the writing pleases you.'

'The characters are as true as life!' cried Arthur Rhodes. 'The
Cantatrice drinking porter from the pewter at the slips after harrowing
the hearts of