of persons were to develop from them or what their stories were to be.

The houses on the bit of street were all three-storied and all of a uniform, dingy, scaling redness. The house of the Duchess, on the left side as you came down the street toward the little Square which squatted beside the East River, differed from the others only in that three balls of tarnished gilt swung before it and unredeemed pledges emanated a weakly lure from behind its dirt-streaked windows, and also in that the personality of the Duchess gave the house something of a character of its own.

The street did business with her when pressed for funds, but it knew little definite about the Duchess except that she was shriveled and bent and almost wordless and was seemingly without emotions. But of course there were rumors. She was so old, and had been so long in the drab little street, that she was as much a legend as a real person. No one knew exactly how she had come by the name of "Duchess." There were misty, unsupported stories that long, long ago she had been a shapely and royal figure in colored fleshings, and that her title had been given her in those her ruling days. Also there was a vague story that she had come by the name through an old liking for the romances of that writer who put forth her, or his, or their, prolific extravagances under the exalted pseudonym of "The Duchess." Also there was a rumor that the title came from a former alleged habit of the Duchess of carrying beneath her shapeless dress a hoard of jewels worthy to be a duchy's heirlooms. But all these were just stories—no more. Down in this quarter of New York nicknames come easily, and once applied they adhere to the end.

Some believed that she was now the mere ashes of a woman, in whom lived only the last flickering spark. And some believed that beneath that drab and spent appearance there smouldered a great fire, which might blaze forth upon some occasion. But no one knew. As she was now, so she had always been even in the memory of people considered old in the neighborhood.

Beside the fact that she ran a pawnshop, which was reputed to be also a fence, there were only two or three other facts that were known to her neighbors. One was that in the far past there had been a daughter, and that while still a very young girl this daughter had disappeared. It was rumored that the Duchess had placed the daughter in a convent and that later tire girl had married; but the daughter had never appeared again in the quarter. Another fact was that there was a grandson, a handsome young devil, who had come down occasionally to visit his grandmother, until he began his involuntary sojourn at Sing Sing. Another fact—this one the best known of all—was that two or three years before an impudent, willful young girl named Maggie Carlisle had come to live with her.

It was rather a meager history. People wondered and talked of mystery. But perhaps the only mystery arose from the fact that the Duchess was the kind of woman who never volunteered information about her affairs, and the kind even the boldly curious hesitate to question...

And down here it was, in this unlovely street, in the Duchess's unlovely house, that the drama of Maggie Carlisle and Larry Brainard began its unpromising and stormy career: for, though they had thought of it little, their forebears had been sowers of the wind, they themselves had sown some of that careless seed and were to sow yet more—and there was to be the reaping of that seed's wild crop.

CHAPTER II

When Maggie entered the studio on the Duchess's third floor, the big, red-haired, unkempt painter roared his rebukes at her. She stiffened, and in the resentment of her proud youth did not even offer an explanation. Nodding to her father and Barney Palmer, she silently crossed to the window and stood sullenly gazing over the single mongrel tree before the house and down the narrow street and across the little Square, at the swirling black tide which raced through East River. That painter was a beast! Yes, and a fool!

But quickly the painter was forgotten, and once more her mind reverted to Larry—at last Larry was coming back!—only to have the painter, after a minute, interrupt her excited imagination with:

"What's the matter with your tongue, Maggie? Generally you stab back with it quick enough."

She turned, still sulky and silent, and gazed with cynical superiority at the easel. "Nuts"—it was Barney Palmer who had thus lightly rechristened the painter when he had set up his studio in the attic above the pawnshop six months before—Nuts was transferring the seamy, cunning face of her father, "Old Jimmie" Carlisle, to the canvas with swift, unhesitating strokes.

"For the lova Christ and the twelve apostles, including that piker Judas," woefully intoned Old Jimmie from the model's chair, "lemme get down off this platform!"

"Move and I'll wipe my palette off on that Mardi Gras vest of yours!" grunted the big painter autocratically through his mouthful of brushes.

"O God—and I got a cramp in my back, and my neck's gone to sleep!" groaned Old Jimmie, leaning forward on his cane. "Daughter, dear"—plaintively to Maggie—"what is the crazy gentleman doing to me?"

"It's an awful smear, father." Maggie spoke slightingly, but with a tone of doubt. It was not the sort of picture that eighteen has been taught to like—yet the picture did possess an intangible something that provoked doubt as to its quality. "You sure do look one old burglar!"

"Not a cheap burglar?"—hopefully.

"Naw!" exploded the man at the easel in his big voice, first taking the brushes from his mouth. "You're a swell-looking old pirate!—ready to loot the sub-treasury and then scuttle the old craft with all hands on board! A breathing, speaking, robbing likeness!"

"Maggie's right, and Nuts's right," put in Barney Palmer. "It's sure a rotten picture, and then again it sure looks like you, Jimmie."

The smartly dressed Barney—Barney could not keep away from Broadway tailors and haberdashers with their extravagant designs and color schemes—dismissed the insignificant matter of the portrait, and resumed the really important matter which had brought him to her.

"Are you certain, Maggie, that the Duchess hasn't heard from Larry?"

"If she has, she hasn't mentioned it. But why don't you ask her yourself?"

"I did, but she wouldn't say a thing. You can't get a word out of the Duchess with a jimmy, unless she wants to talk—and she never wants to talk." He turned his sharp, narrowly set eyes upon the lean old man. "It's got me guessing, Jimmie. Larry was due out of Sing Sing yesterday, and we haven't had a peep from him, and though she won't talk I'm sure he hasn't been here to see his grandmother."

"Sure is funny," agreed Old Jimmie. "But mebbe Larry has broke straight into a fresh game and is playing a lone hand. He's a quick worker, Larry is—and he's got nerve."

"Well, whatever's keeping him we're tied up till Larry comes." Barney turned back to Maggie. "I say, sister, how about robing yourself in your raiment of joy and coming with yours truly to a palace of jazz, there to dine and show the populace what real dancing is?"

"Can't, Barney. Mr. Hunt"—the name given the painter at his original christening—"asked the Duchess and me to have dinner up here. He's to cook it himself."

"For your sake I hope he cooks better than he paints." And sliding down in his chair until he rested upon a more comfortable vertebra, the elegant Barney lit a monogrammed cigarette, and with idle patience swung his bamboo stick.

"You're half an hour late, Maggie," Hunt began at her again in his rumbling voice. "Can't stand for such a waste of my time!"

"How about my time?" retorted Maggie, who indeed had a grievance. "I was supposed to have the day off, but instead I had to carry that tray of cigarettes around till