en she shook herself, and exclaimed, rising from the table: 'Nearly
three o'clock! Ah! my children, I must turn you out of the house. Yes,
I have an appointment with an architect; I am going to see some ground
near the Parc Monceau, you know, in the new quarter which is being
built. I have scented a stroke of business in that direction.'

They had returned to the drawing-room. She stopped before a
looking-glass, annoyed at seeing herself so flushed.

'It's about that house, isn't it?' asked Jory. 'You have found the
money, then?'

She brought her hair down over her brow again, then with her hands
seemed to efface the flush on her cheeks; elongated the oval of her
face, and rearranged her tawny head, which had all the charm of a work
of art; and finally, turning round, she merely threw Jory these words by
way of reply: Look! there's my Titianesque effect back again.'

She was already, amidst their laughter, edging them towards the hall,
where once more, without speaking, she took Claude's hands in her own,
her glance yet again diving into the depths of his eyes. When he
reached the street he felt uncomfortable. The cold air dissipated his
intoxication; he remorsefully reproached himself for having spoken of
Christine in that house, and swore to himself that he would never set
foot there again.

Indeed, a kind of shame deterred Claude from going home, and when his
companion, excited by the luncheon and feeling inclined to loaf about,
spoke of going to shake hands with Bongrand, he was delighted with the
idea, and both made their way to the Boulevard de Clichy.

For the last twenty years Bongrand had there occupied a very large
studio, in which he had in no wise sacrificed to the tastes of the
day, to that magnificence of hangings and nick-nacks with which young
painters were then beginning to surround themselves. It was the bare,
greyish studio of the old style, exclusively ornamented with sketches
by the master, which hung there unframed, and in close array like the
votive offerings in a chapel. The only tokens of elegance consisted of
a cheval glass, of the First Empire style, a large Norman wardrobe, and
two arm-chairs upholstered in Utrecht velvet, and threadbare with
usage. In one corner, too, a bearskin which had lost nearly all its
hair covered a large couch. However, the artist had retained since his
youthful days, which had been spent in the camp of the Romanticists, the
habit of wearing a special costume,