that in order to reach the studio before twilight. I have promised Sonia to come; so once more adieu; and I beg of you, send all this plunder"--pointing to the books---"back to Calman Levy, and send him word he need no longer disturb me with his Russian stories." With that Nita vanished.

"A strange change, a very strange change," says Miss Wilmot to herself, while she still stares with the same abashed, astonished expression at the door which has just closed behind her young friend. Then she wishes to again take up Figaro in order to translate the article on the devil's violinist into German, for which language she has for twenty years had a love. In vain--the paper is nowhere to be found.

II.

Nita von Sankjéwitch is a young Austrian who lives perfectly independent on her income in Paris. Miss Wilmot, her former governess, now serves as chaperon in her little home.

If Miss Wilmot can be described in brief as an English old maid who reminds one of David's Marie Antoinette on the poor sinner's car, it would, on the contrary, have been quite difficult to give in as few words a half-way significant and life-like description of Nita.

Her figure, tall and slender, with very delicate limbs and long, slender hands and feet, has in carriage and movements something of the harsh, so to say, repellant charm with which the Greeks loved to characterize their Diana statues. Her abundant hair, which is cut straight across her forehead and gathered up in a heavy knot on her neck, is of a light-brown color with reddish lights; her face, long but prettily rounded, is pale, with regular features, finely arched little nose, and full, somewhat arrogantly curved little mouth.

But the most remarkable in her face, the most remarkable in her whole appearance, are the eyes--large, brilliant gray eyes with greenish and bluish lights in them, eyes which suddenly darken, and then become strangely and unfathomably deep, as if she had tasted all the bitterness of creation, and in the next moment look out upon the world again as challengingly bright and cold as if they did not believe there could be a heart-ache that could not be overcome by a gay jest.

In her family Nita was called the "melancholy scamp." Her age was difficult to decide. Just as her nature completely lacked that unrestrained, youthful exuberance, so her face, in spite of the ivory smoothness of the skin, was without all freshness. From her manner she might be forty.

She is the daughter of a born Countess Bärenburg and a Baron Sankjéwitch, who obtained the Theresien cross and the title of Freiherr on the battlefield. Both parents are dead. On her father's side she has no relatives; with her mother's numerous relatives she stands on the best footing, without letting herself be much influenced by them. "It would be very uncomfortable to me to be obliged to be as distinguished as the clan Bärenburg," she used frequently to say, and preferred to say it to the face of the clan Bärenburg. The clan Bärenburg shook its head sadly at that, and regretted her peculiarities, without losing its respect, or even its sympathy, for her. The sharpest judgment which the family had ever pronounced upon her was: "Nita is an original."

Even the sun has spots, the most charming being has her unlovely peculiarities--Nita von Sankjéwitch is an artist! She has her independent studio in the rear of a building in a little court adorned with a pleasure ground, in the Avenue Frochot. Since some months she has shared it with a friend, a young Russian, of whom she is very fond. Nita's studio has two doors: one which leads directly out on the little court, and one which connects Nita's own sanctum with the great painting school of which Monsieur Sylvain is at the head. She has the key of her art nest in her pocket. Before she has yet had time to put it in the key-hole, the door is opened from within. A pretty, blonde young girl comes to meet her, and embraces her as if they had been separated for two years. It is Sonia--i.e., Sophia Dimitrievna Kasin.

"Do I come too late?" asks Nita. "Has Monsieur Sylvain already been?"

"No," replied Sophie, "we are about to give him up. Will you have tea?"

Nita laughs. "Tea, and yet again tea! At home Miss Wilmot has already pursued me with offers of tea; that comes of it if one lives between an Englishwoman and a Russian. Well, give me a cup of your nectar, Sonia. I am a little out of tune to-day; perhaps it will do me good."

"You must wait a moment; if is not yet ready," replies Sonia, and bends listening over the copper tea-kettle, which stands on a little table delicately set with all kinds of tea things.

It is four o'clock in the afternoon. The last whitish light of an already quickly dying November day falls through a large window occupying almost one entire side of the studio, a roomy, square apartment, whose gray walls are adorned with a couple of studies, abundant bold sketches by Nita, anxiously neat attempts by Sophie; beside those, a plaster cast of St. John, bas reliefs of Donatello, with many bits of picturesque old stuffs, and two or three Japanese crapes. Furniture is scarce: a divan, over which an old Persian rug is spread; a couple of comfortable chairs, mostly of cane, but with a supplement of silken cushions; tables which bend under a weight of books, portfolios, plaster casts, and paint-boxes; many easels; a vase of withered chrysanthemums; in one corner a manikin with gracefully bent arms, in the other a skeleton, many old paint tubes--form the furnishings.

The door into the adjoining painting school stands half open. Idly waiting for the completion of Sophie's brewing, Nita glances in there.

Between a forest of easels she sees eight or ten women, who look weary, yawn; one of them smokes a cigarette, another nibbles at a biscuit; a third, her hat already on her head and veil over her eyes, makes a correction on her picture; while still another sits at a little piano, and with desperate energy drums the Saint Saens danse macabre.

The lady who is making yet another correction in her picture is the Countess d'Olbreuse, a butterfly of fashion, who not only raves over painting, but also has a great love for music.

"It is useless to wait longer for Sylvain," she remarks, laying aside her brushes and addressing the lady at the piano. "Apropos, have you procured tickets for Lensky's concert in Eden?"

"Not yet, and yet I have telephoned for twenty-four hours like a detective or a broker."

Nita turns away, and closes the half-opened door between the two studios, not without force.

"Tea is ready," says Sonia; "but what is the matter, dear, you look so gloomy?"

"Nothing," says Nita, "only that"--with a glance at the door--"vexes me so. Such a ladies' studio is only a kind of hospital for ruined feminine existences. There! what an absent-minded being I am! Where is it?--a letter for you; perhaps it contains something interesting." And after some search, Nita finds the letter in the pocket of her jacket. Scarcely has Sophie opened the letter when she cries out for joy.

"Well, what is it, little goose?" asks Nita, quite pleased at Sophie's beaming face.

"The letter is from my cousin, Nikolai Lensky, the son of the famous violinist, you know----"

"I know nothing. I had no suspicion that you were related to Lensky," replies Nita, quickly and harshly.

"My mother was a cousin of his wife," stammers Sophie, somewhat vexed at Nita's unpleasant tone. "Yesterday I met Nikolai at the Jeliagins. He has recently come from St. Petersburg. He will soon come to