Day after day Dennis went to Mr. Ludolph's new home during the morning hours, and Christine's spell worked with bewildering and increasing power. While she tortured him with many doubts and fears, his hope grew to be almost a certainty that he had at last made a place for himself in her heart. Sometimes the whole story of his love trembled on his lips, but she never permitted its utterance. That she determined should be reserved for the climax. He usually met her alone, but noticed that in the presence of others she was cool and undemonstrative. Mr. Ludolph rarely saw them together, and, when he did, there was nothing in his daughter's manner to awaken suspicion. This perfectly acted indifference in the presence of others, and equally well acted regard when alone, often puzzled Dennis sorely. But at last he concluded: "She is wiser than I. She knows that I am in no condition now to make proposals for her hand; therefore it is better that there should be no recognized understanding between us;" and he resolved to be as prudent as she. Then again she would so awaken his jealousy and fears that he would feel that he must know his fate--that anything was better than such torturing uncertainty. As for Christine, two processes were going on in her mind--one that she recognized, and one that she did not. Her artistic aims were clear and definite. In the first place she meant perfectly to master the human face as it expressed emotions, especially such as were of a tender nature; and in the second place she intended to paint a picture that in itself would make her famous. She chose a most difficult and delicate subject--of the character she had ever failed in--a declaration of love. When Dennis began to work again in her presence, the picture was well advanced. In a grand old hall, whose sides were decorated with armor and weapons, a young man stood pleading his cause with a lady whose hand he held. The young girl's face was so averted that only a beautiful profile was visible, but her form and attitude were grace itself. The lovers stood in an angle of the hall near an open window, through which was seen a fine landscape, a picture within a picture. But Christine meant to concentrate all her power and skill on the young knight's face. This should be eloquent with all the feeling and passion that the human face could express, and she would insure its truthfulness to life by copying life itself--the reality. Dennis Fleet was the human victim that she was offering on the altar of her ambition. Much of the picture was merely in outline, but she finished the form and features of the suppliant in all save the expression, and this she meant to paint from his face whenever she was in the right mood and could bring matters to a crisis.