“Wait, I say again. There is a third sculptor in the studio--actually a nobleman! His name is Fabio d’Ascoli. He is rich, young, handsome, an only child, and little better than a fool. Fancy his working at sculpture, as if he had his bread to get by it--and thinking that an amusement! Imagine a man belonging to one of the best families in Pisa mad enough to want to make a reputation as an artist! Wait! wait! the best is to come. His father and mother are dead--he has no near relations in the world to exercise authority over him--he is a bachelor, and his fortune is all at his own disposal; going a-begging, my friend; absolutely going a-begging for want of a clever woman to hold out her hand and take it from him.” “Yes, yes--now I understand. The goddess Minerva is a clever woman, and she will hold out her hand and take his fortune from him with the utmost docility.” “The first thing is to get him to offer it. I must tell you that I am not going to sit to him, but to his master, Luca Lomi, who is doing the statue of Minerva. The face is modeled from his daughter; and now he wants somebody to sit for the bust and arms. Maddalena Lomi and I are as nearly as possible the same height, I hear--the difference between us being that I have a good figure and she has a bad one. I have offered to sit, through a friend who is employed in the studio. If the master accepts, I am sure of an introduction to our rich young gentleman; and then leave it to my good looks, my various accomplishments, and my ready tongue, to do the rest.” “Stop! I won’t have the lace doubled, on second thoughts. I’ll have it single, and running all round the dress in curves--so. Well, and who is this friend of yours employed in the studio? A fourth sculptor?” “No, no; the strangest, simplest little creature--” Just then a faint tap was audible at the door of the room. Brigida laid her finger on her lips, and called impatiently to the person outside to come in. The door opened gently, and a young girl, poorly but very neatly dressed, entered the room. She was rather thin and under the average height; but her head and figure were in perfect proportion. Her hair was of that gorgeous auburn color, her eyes of that deep violet-blue, which the portraits of Giorgione and Titian have made famous as the type of Venetian beauty. Her features possessed the definiteness and regularity, the “good modeling” (to use an artist’s term), which is the rarest of all womanly charms, in Italy as elsewhere. The one serious defect of her face was its paleness. Her cheeks, wanting nothing in form, wanted everything in color. That look of health, which is the essential crowning-point of beauty, was the one attraction which her face did not possess.