admired—artistic folk. She crossed a parlour, and found herself on a landing from which she could see a long table in the middle of the room, with little tables ranged along the walls. A numerous company was assembled, gabbling, eating, drinking, seemingly happy. An old chap with a bald head and grizzled moustaches saluted her rather markedly. His eyes were bloodshot. He looked prosperous and authoritative.

"I wish you the good-evening and a welcome, Mademoiselle," he said. "You must be tired and hungry. I am Monsieur Felicé. Come with me. I give you a table to yourself with only one other guest. But—a nice young man, I assure you, quite an old friend of the house." His speech was voluble, accompanied by many gestures. He was Provençal, his wife Swiss. He stared at the girl. She was pretty, though not to his taste. He preferred blondes. She sat herself at a table near the short flight of steps that led from the foyer to the salle-à-manger. She was alone. Soon her soup was served. It was like wine to her faded spirits. Easter felt more cheerful. Decidedly a full stomach is an obstacle to melancholy. She sipped a glass of red wine. Her humour began to mellow. The soup was excellent, the fish promising—and then there stood before her, slightly bowing, a small, slender young man who introduced himself:

"Papa Felicé tells me I am to have the honour of sitting at dinner with you. My name is Stone, Alfred Stone, at your service." His manner was a trifle formal. He looked about forty and was barely thirty. A young-old man, worn, though not precisely dissipated looking. Easter didn't know whether she liked or disliked him. She resented his presence because he disturbed her dreams. But when he asked her name she became interested.

"Papa Felicé says you are a singer, Miss Brandès. Brandès! That must be a Jewish name?"

"No, I am not Jewish. And my first name Esther! My father was born in Virginia. So was I. He may have had Jewish blood in his veins. I don't know. He said his father was a Dane—"

"Aha!" cried Stone. "Georg Brandes the Danish writer is a Jew, and there is Marthe Brandès of Paris, you know, the beautiful actress—"

"I've never been to Paris," interrupted Easter. "Is she a great actress this Marthe Brandès?"

"Not so great as alluring. Yes, she is great if compared with any English or American actress." His dark eyes glowed. He almost became animated. Easter listened with curiosity. A man who spoke with such surety was somebody. Who was this Mr. Stone? She tried him with a touch of flattery.

"You must have seen a lot of actresses to pass such a judgment." He became quite languid.

"Miss Brandès, I am a critic of the theatre and music." She eagerly responded:

"A critic of music. How nice." His depression increased.

"What's nice about it?" he asked in a sullen tone.

"Oh, to hear all the great singers and players."

"You mean, to be forced to hear a lot of mediocrities. Even the great ones, Lilli Lehmann, Brandt, the De Reszkes, get on my nerves. You can have too much of a good thing my dear young lady." She became still more absorbed.

"Now, tell me. What are you after?" he demanded in kindly fashion.

"I mean to be a great dramatic soprano," she confidently asserted.

"Aha!" he vouchsafed. "Rather a modest programme."

"I mean to accomplish it," she retorted. He was visibly impressed.

"Of course, a great voice you must have to begin with; and then there are such items as vocal technique and dramatic temperament, and beauty—you are well supplied in that—" he gallantly bowed—"Thank you," said the girl not in the least abashed; she knew she was good-looking—"and how many other qualifications?" he interposed.

"I speak French. My mother was a Frenchwoman. I speak Italian, without an accent, my teacher said—" "Without an Italian accent, he meant?"—"No, with a Tuscan accent," the girl proudly replied; "and I'm a trained musician, a solo pianist, and accompanist and read and transpose at sight. I—" He wearily waved her words away.

"Yes, yes. I know all about you girls who play, sing, transpose and compose. There's Yankee versatility, if you please. Universal genius. And you couldn't compose a rôle any more than you could cook your husband's dinner—if you were unlucky enough to have one." Easter smiled and it was like sunrise. Something inexpressibly youthful came into the world.

"At any rate I have a good dinner if I haven't the husband," she challenged. He assented. "The cuisine here is famous. Not at Martin's, or Delmonico's, or down on 14th Street at Moretti's is there better flavoured food." They had not reached coffee. The sweets were insignificant. Easter positively became buoyant. She must have had Celtic in her, she went from the cellar to the clouds and the clouds to the cellar with such facility. Her Avernus once achieved, the rebound was sure to follow. Momentarily she forgot her poverty, loneliness, strangeness, and Mr. Stone was like a friend in need. She played confidential.

"All my life I've been at music. I was born near Warrenton on a farm. Then we moved to Richmond. Papa was unfortunate. I appeared as a child prodigy, later I taught little girls some older than myself. I began singing, in the cradle, mother said. Poor dear mother. She was so wrapped up in my musical career." (He thought: "They all say the same things ... already, career!") "She died last Spring. Father has been away for years"—Easter hesitated—"and here I am with lots of conceit and no money—to speak of—and yet I mean to succeed."

He admired her, this tall black-haired girl with the broad shoulders and steady eyes. Physical signs augured well. Her ears were small, shapely, her throat a tower of strength. Her bust was undeveloped, but the chest measurement unusual. He couldn't see her hips, but she sat boldly upright and there was decision in every movement, every attitude. Her eyes did not please his fastidious demands. They were not full-orbed, rather small, deep-set, and he couldn't make up his mind whether in colour they were dark-blue or dark-green; at times they seemed both; but they went well with the blue-black hair coiled about a wide low forehead. The nose was too large for canonic beauty; but it was boldly jutting, not altogether aquiline, a good rudder for a striking countenance, and one that might steer her little ship through stormy weather. The ensemble promised. But Stone had witnessed so many auspicious beginnings that the brilliant girl, whose speech was streaked with an agreeable southern accent, did not altogether convince him. Another! he commented, but inaudibly. He gravely inquired if she had any letters to musical people.

"Yes, to Madame Fursch-Madi, for one. Also a letter from our U. S. senator to the Director of the Metropolitan Opera House." She beamed. Stone looked at her. "Madame Fursch-Madi is a great dramatic soprano, but she hasn't much time for pupils, she is so busy with concert work. But you may have a chance if your voice is as good as you believe it to be. La Fursch has a class two afternoons in the week at the Conservatoire Cosmopolitaine, and as I know Madame Mayerbeer the director, I could give you a letter to her; better still, I could take you to her and introduce you, that is if you care to go." He is interested, without doubt, thought Easter. She was in a gleeful mood, but held herself down. The effervescent kitten tricks might not please this cynical critic. She gladly accepted his offer. They slowly moved from the half-deserted room. Two hours had quickly passed. She was surprised. Stone spoke:

"It's too soon after eating, yet I wish I could hear your voice. Then I might judge. Perhaps Fursch-Madi won't bother with an amateur. Her forte is not tone-production, but style. She is an operatic stylist. To hear her deliver Pleurez, mes yeux from the Cid, or Printemps from Samson et Dalila is something to remember. The true Gallic tradition, broad and dramatic, with justesse in expression. Ah! Only Lilli is her