iron forks had two prongs; the knives bone handles; the dull glass was pressed; the heavy plates and cups were white, but so was the cloth, and all were clean. The woman brought in a good boiled dinner of corned-beef, potatoes, turnips, and carrots from the kitchen, and a teapot, and said something about having kept them hot on the stove for him; she brought him a plate of biscuit fresh from the oven; then she said to the boy, "You come out and have your dinner with me, Jeff," and left the guest to make his meal unmolested.

The room was square, with two north windows that looked down the lane he had climbed to the house. An open door led into the kitchen in an ell, and a closed door opposite probably gave access to a parlor or a ground-floor chamber. The windows were darkened down to the lower sash by green paper shades; the walls were papered in a pattern of brown roses; over the chimney hung a large picture, a life-size pencil-drawing of two little girls, one slightly older and slightly larger than the other, each with round eyes and precise ringlets, and with her hand clasped in the other's hand.

The guest seemed helpless to take his gaze from it, and he sat fallen back in his chair at it when the woman came in with a pie.

"Thank you, I believe I don't want any dessert," he said. "The fact is, the dinner was so good that I haven't left any room for pie. Are those your children?"

"Yes," said the woman, looking up at the picture with the pie in her hand. "They're the last two I lost."

"Oh, excuse me—" the guest began.

"It's the way they appear in the spirit life. It's a spirit picture."

"Oh, I thought there was something strange about it."

"Well, it's a good deal like the photograph we had taken about a year before they died. It's a good likeness. They say they don't change a great deal at first."

She seemed to refer the point to him for his judgment, but he answered wide of it:

"I came up here to paint your mountain, if you don't mind, Mrs. Durgin-Lion's Head, I mean."

"Oh yes. Well, I don't know as we could stop you if you wanted to take it away." A spare glimmer lighted up her face.

The painter rejoined in kind: "The town might have something to say, I suppose."

"Not if you was to leave a good piece of intervale in place of it. We've got mountains to spare."

"Well, then, that's arranged. What about a week's board?"

"I guess you can stay if you're satisfied."

"I'll be satisfied if I can stay. How much do you want?"

The woman looked down, probably with an inward anxiety between the fear of asking too much and the folly of asking too little. She said, tentatively: "Some of the folks that come over from the hotels say they pay as much as twenty dollars a week."

"But you don't expect hotel prices?"

"I don't know as I do. We've never had anybody before."

The stranger relaxed the frown he had put on at the greed of her suggestion; it might have come from ignorance or mere innocence. "I'm in the habit of paying five dollars for farm board, where I stay several weeks. What do you say to seven for a single week?"

"I guess that 'll do," said the woman, and she went out with the pie, which she had kept in her hand.

IV.

The painter went round to the front of the house and walked up and down before it for different points of view. He ran down the lane some way, and then came back and climbed to the sloping field behind the barn, where he could look at Lion's Head over the roof of the house. He tried an open space in the orchard, where he backed against the wall enclosing the little burial-ground. He looked round at it without seeming to see it, and then went back to the level where the house stood. "This is the place," he said to himself. But the boy, who had been lurking after him, with the dog lurking at, his own heels in turn, took the words as a proffer of conversation.

"I thought you'd come to it," he sneered.

"Did you?" asked the painter, with a smile for the unsatisfied grudge in the boy's tone. "Why didn't you tell me sooner?"

The boy looked down, and apparently made up his mind to wait until something sufficiently severe should come to him for a retort. "Want I should help you get your things?" he asked, presently.

"Why, yes," said the painter, with a glance of surprise. "I shall be much obliged for a lift." He started toward the porch where his burden lay, and the boy ran before him. They jointly separated the knapsack from the things tied to it, and the painter let the boy carry the easel and campstool which developed themselves from their folds and hinges, and brought the colors and canvas himself to the spot he had chosen. The boy looked at the tag on the easel after it was placed, and read the name on it—Jere Westover. "That's a funny name."

"I'm glad it amuses you," said the owner of it.

Again the boy cast down his eyes discomfited, and seemed again resolving silently to bide his time and watch for another chance.

Westover forgot him in the fidget he fell into, trying this and that effect, with his head slanted one way and then slanted the other, his hand held up to shut out the mountain below the granite mass of Lion's Head, and then changed to cut off the sky above; and then both hands lifted in parallel to confine the picture. He made some tentative scrawls on his canvas in charcoal, and he wasted so much time that the light on the mountain-side began to take the rich tone of the afternoon deepening to evening. A soft flush stole into it; the sun dipped behind the top south of the mountain, and Lion's Head stood out against the intense clearness of the west, which began to be flushed with exquisite suggestions of violet and crimson.

"Good Lord!" said Westover; and he flew at his colors and began to paint. He had got his canvas into such a state that he alone could have found it much more intelligible than his palette, when he heard the boy saying, over his shoulder: "I don't think that looks very much like it." He had last been aware of the boy sitting at the grassy edge of the lane, tossing small bits of earth and pebble across to his dog, which sat at the other edge and snapped at them. Then he lost consciousness of him. He answered, dreamily, while he found a tint he was trying for with his brush: "Perhaps you don't know." He was so sure of his effect that the popular censure speaking in the boy's opinion only made him happier in it.

"I know what I see," said the boy.

"I doubt it," said Westover, and then he lost consciousness of him again. He was rapt deep and far into the joy of his work, and had no thought but for that, and for the dim question whether it would be such another day to-morrow, with that light again on Lion's Head, when he was at last sensible of a noise that he felt he must have been hearing some time without noting it. It was a lamentable, sound of screaming, as of some one in mortal terror, mixed with wild entreaties. "Oh, don't, Jeff! Oh, don't, don't, don't! Oh, please! Oh, do let us be! Oh, Jeff, don't!"

Westover looked round bewildered, and not able, amid the clamor of the echoes, to make out where the cries came from. Then, down at the point where the lane joined the road to the southward and the road lost itself in the shadow of a woodland, he saw the boy leaping back and forth across the track, with his dog beside him; he was shouting and his dog barking furiously; those screams and entreaties came from within the shadow. Westover plunged down the lane headlong, with a speed that gathered at each bound, and that almost flung him on his face when he reached the level where the boy and the dog were dancing back and forth across the road. Then he saw, crouching in the edge of the wood, a little girl, who was uttering the appeals he had heard, and clinging to her, with a face of frantic terror, a child of five or six years; her cries had grown