Chapter XXXI: An Emblem.......................................293 Chapter XXXII: The Dangers of Despair.........................303 Chapter XXXIII: "Hope Dies Hard"..............................311 Chapter XXXIV: Puzzled........................................324 Chapter XXXV: Desperately Wounded.............................335 Chapter XXXVI: Temptation's Voice.............................350 Chapter XXXVII: Voices of Nature..............................360 Chapter XXXVIII: A Good Man Speaks............................369 Chapter XXXIX: Van Berg's Escape..............................387 Chapter XL: Van Berg's Conclusions............................397 Chapter XLI: The Protestant Confessional......................403 Chapter XLII: The Corner-Stone of Character...................424 Chapter XLIII: A "Heavenly Mystery"...........................435 Chapter XLIV: "The Garden of Eden"............................443 Chapter XLV: Problems Beyond Art..............................470 Chapter XLVI: A Resolute Philosopher..........................486 Chapter XLVII: The Concert Garden Again.......................500 Chapter XLVIII: Ida's Temptation..............................518 Chapter XLIX: The Blind God...................................538 Chapter L: Swept Away.........................................555 Chapter LI: From Deep Experience..............................569 Chapter LII: An Illumined Face................................589 Chapter LIII: A Night's Vigil.................................601 Chapter LIV: Life and Trust...................................615 Chapter 1. A Face. Although the sun was approaching the horizon, its slanting rays found a young artist still bending over his easel. That his shoulders are broad is apparent at a glance; that upon them is placed a shapely head, well thatched with crisp black hair, is also seen at once; that the head is not an empty one is proved by the picture on the easel, which is sufficiently advanced to show correct and spirited drawing. A brain that can direct the hand how to do one thing well, is like a general who has occupied a strategic point which will give him the victory if he follows up his advantage. A knock at the door is not answered at once by the intent and preoccupied artist, but its sharp and impatient repetition secures the rather reluctant invitation, "Come in," and even as he spoke he bent forward to give another stroke. "Six o'clock, and working still!" cried the intruder. "You will keep the paint market active, if you achieve nothing else as an artist."