"That will do, Cesare," he said, "_aspetto persone_; besides, you're shivering: I shall have you catching cold next, and I can't paint while you're sneezing. Yes, you're quite right, _e un freddo terribile_, considering that it's July. Off with you now, and come again at the same time on Friday. _Si conservi_--that's to say, don't get drunk in the interval; it makes you look such a brute that I can't paint you." While the model transformed himself from a scantily-attired Roman gladiator into an Italian of the ordinary Saffron Hill description, Lightmark hastily washed his brushes, turned down his shirt sleeves, and donned the becoming velvet painting-jacket, which Mrs. Dollond had so much admired. "I hope they won't notice Cesare's pipe," he said anxiously. "Even though he doesn't smoke here, it always seems to hang about. Perhaps I had better open the window and burn a pastille. And now, are we prepared to receive Philistia? Yes, I don't think the place looks bad, and--but perhaps Mrs. Sylvester mightn't like the gladiator. He certainly is deucedly anatomical at present. I'll go and leave him in Copal's studio, and then I can borrow his tea-things at the same time." The studio was a lofty room on the ground-floor with an elaborately-devised skylight, and a large window facing north, through which a distant glimpse of Holland Park could be obtained. Lightmark had covered the floor with pale Indian matting, with a bit of strong colour, here and there, in the shape of a modern Turkish rug. For furniture, he had picked up some old chairs and a large straight-backed settee with grotesquely-carved legs, which, with the aid of a judicious arrangement of drapery, looked eminently attractive, and conveyed an impression of comfort which closer acquaintance did not altogether belie. Then there was the platform, covered with dark cloth, on which his models posed; the rickety table with many drawers, in which he kept brushes and colours; a lay figure, disguised as a Venetian flower-girl, which had collapsed tipsily into a corner; two or three easels; and a tall, stamped leather screen, which was useful for backgrounds. A few sketches, mostly unframed, stood in a row on the narrow shelf which ran along the pale-green distempered walls; and more were stacked in the corners--some in portfolios, and some with their dusty backs exposed to view. The palette which he had been using lay, like a great fantastic leaf, upon the table, amid a chaos of broken crayons, dingy stumps, photographs of sitters, pellets of bread, disreputable colour-tubes, and small bottles of linseed-oil, varnish, and turpentine. A sketch for Mrs. Sylvester's portrait, in crayons, was propped against the foot of an easel (Lightmark hoped that her son might buy it for his chambers); the canvas which he had prepared against the much-delayed sitting due from Miss Sylvester exposed its blank surface on another. A tall Japanese jar full of purple and