Anne laughed, a laugh throaty and hesitant as her speaking voice. “He isn’t,” she exclaimed, snatching Enderly’s attention from her mother. “Joan Nevin squashed all that promptly on its first appearance. You see, Joan does know a thing or two about art, and artists too. They swarm at her house, Holly, and she’s a patroness of exhibitions and a godmother in general to the aspiring. She knows all the big painters, the important fellows, here and abroad, and she has a collection of her own that’s A1,—but you know all about her, of course. Hugh’s always been in love with her. His devotion is almost as famous as her private collection. So when, all on his own, he discovered this artist in Bermuda, he proudly bought and lugged home one of his paintings to her. But she—” Mrs. Weyman touched her daughter’s arm warningly. This was an Anne who distressed and embarrassed her. But Enderly, for the minute too genuinely interested to be tactful, said, “Oh! So Mrs. Nevin has a painting by this unheard-of artist. I’d like to see it.” “No, Mrs. Nevin hasn’t it,” Mrs. Weyman corrected him, her fingers by now firmly pressing Anne’s arm. “I don’t know how Anne knows that Hugh even intended it as a present for her. He never said so. He merely got her over here to see it, as I remember, and she wasn’t very much impressed.” “So it’s here?” Enderly was looking about as though actually expecting to find the picture on one of the library walls. “In the attic. Hugh lost no time in stowing it way after Joan had laughed at it. He knew that she knew, you see. But Hugh is loyal to his friends. He doesn’t count the cost of friendship. And Ariel Clare may be charming, no matter how much a failure her father was as an artist.” Mrs. Weyman got up, snapped on another light or two and started out to dress for dinner. But Enderly, clinging to his tactlessness, detained her by inquiring, “Where’d she go to school? Do you know? England?” Mrs. Weyman turned in the doorway to answer but Anne, released from the restraining pressure of the maternal fingers, got ahead of her with: “We have no evidence of any education whatever having happened to Ariel. It’s one thing Hugh doesn’t try to claim. What she’s really been doing all these years is being a model—her father’s model, of course—and that may have taken all her time, poor thing. Hugh tells us that he never painted a picture without putting her in. Where most artists put their signature he put his daughter, do you see. Not the subject of the picture, just a sort of afterthought, off at the side, or in the air or in the water,—a kind of sprite or accompanying angel. Sweet idea. And—”