don't object; I'm a model, you know, and it's just rung twelve—'the rest.' I'm posing for Durien the sculptor, on the next floor. I pose to him for the altogether."

"The altogether?" asked Little Billee.

"Yes—l'ensemble, you know—head, hands, and feet—everything—especially feet. That's my foot," she said, kicking off her big slipper and stretching out the limb. "It's the handsomest foot in all Paris. There's only one in all Paris to match it, and here it is," and she laughed heartily (like a merry peal of bells), and stuck out the other.

And in truth they were astonishingly beautiful feet, such as one only sees in pictures and statues—a true inspiration of shape and color, all made up of delicate lengths and subtly modulated curves and noble straightnesses and happy little dimpled arrangements in innocent young pink and white.

So that Little Billee, who had the quick, prehensile, æsthetic eye, and knew by the grace of Heaven what the shapes and sizes and colors of almost every bit of man, woman, or child should be (and so seldom are), was quite bewildered to find that a real, bare, live human foot could be such a charming object to look at, and felt that such a base or pedestal lent quite an antique and Olympian dignity to a figure that seemed just then rather grotesque in its mixed attire of military overcoat and female petticoat, and nothing else!

Poor Trilby!

The shape of those lovely slender feet (that were neither large nor small), fac-similed in dusty, pale plaster of Paris, survives on the shelves and walls of many a studio throughout the world, and many a sculptor yet unborn has yet to marvel at their strange perfection, in studious despair.

For when Dame Nature takes it into her head to do her very best, and bestow her minutest attention on a mere detail, as happens now and then—once in a blue moon, perhaps—she makes it uphill work for poor human art to keep pace with her.

It is a wondrous thing, the human foot—like the human hand; even more so, perhaps; but, unlike the hand, with which we are so familiar, it is seldom a thing of beauty in civilized adults who go about in leather boots or shoes.

So that it is hidden away in disgrace, a thing to be thrust out of sight and forgotten. It can sometimes be very ugly, indeed—the ugliest thing there is, even in the fairest and highest and most gifted of her sex; and then it is of an ugliness to chill and kill romance, and scatter young love's dream, and almost break the heart.

And all for the sake of a high heel and a ridiculously pointed toe—mean things, at the best!

Conversely, when Mother Nature has taken extra pains in the building of it, and proper care or happy chance has kept it free of lamentable deformations, indurations, and discolorations—all those grewsome boot-begotten abominations which have made it so generally unpopular—the sudden sight of it, uncovered, comes as a very rare and singularly pleasing surprise to the eye that has learned how to see!

Nothing else that Mother Nature has to show, not even the human face divine, has more subtle power to suggest high physical distinction, happy evolution, and supreme development; the lordship of man over beast, the lordship of man over man, the lordship of woman over all!

En, voilà, de l'éloquence—à propos de bottes!

Trilby had respected Mother Nature's special gift to herself—had never worn a leather boot or shoe, had always taken as much care of her feet as many a fine lady takes of her hands. It was her one coquetry, the only real vanity she had.

Gecko, his fiddle in one hand and his bow in the other, stared at her in open-mouthed admiration and delight, as she ate her sandwich of soldier's bread and fromage à la crème quite unconcerned.

When she had finished she licked the tips of her fingers clean of cheese, and produced a small tobacco-pouch from another military pocket, and made herself a cigarette, and lit it and smoked it, inhaling the smoke in large whiffs, filling her lungs with it, and sending it back through her nostrils, with a look of great beatitude.

Svengali played Schubert's "Rosemonde," and flashed a pair of languishing black eyes at her with intent to kill.

But she didn't even look his way. She looked at Little Billee, at big Taffy, at the Laird, at the casts and studies, at the sky, the chimney-pots over the way, the towers of Notre Dame, just visible from where she sat.

Only when he finished she exclaimed: "Maïe, aïe! c'est rudement bien tapé, c'te musique-là! Seulement, c'est pas gai, vous savez! Comment q'ça s'appelle?"

"It is called the 'Rosemonde' of Schubert, matemoiselle," replied Svengali. (I will translate.)

THE "ROSEMONDE" OF SCHUBERT

"And what's that—Rosemonde?" said she.

"Rosemonde was a princess of Cyprus, matemoiselle, and Cyprus is an island."

"Ah, and Schubert, then—where's that?"

"Schubert is not an island, matemoiselle. Schubert was a compatriot of mine, and made music, and played the piano, just like me."

"Ah, Schubert was a monsieur, then. Don't know him; never heard his name."

"That is a pity, matemoiselle. He had some talent. You like this better, perhaps," and he strummed,