“Oh, but Marie is afraid he can't,” smiled Billy. “And that's the trouble. She says that's the only thing that worries her--Cyril.” “Nonsense!” ejaculated Aunt Hannah. “Oh, but it isn't nonsense to Marie,” retorted Billy. “You should see the preparations she's made and the precautions she's taken. Actually, when I saw those baby's socks in her lap, I didn't know but she was going to put rubber heels on them! They've built the new house with deadening felt in all the walls, and Marie's planned the nursery and Cyril's den at opposite ends of the house; and she says she shall keep the baby there _all_ the time--the nursery, I mean, not the den. She says she's going to teach it to be a quiet baby and hate noise. She says she thinks she can do it, too.” “Humph!” sniffed Aunt Hannah, scornfully. “You should have seen Marie's disgust the other day,” went on Billy, a bit mischievously. “Her Cousin Jane sent on a rattle she'd made herself, all soft worsted, with bells inside. It was a dear; but Marie was horror-stricken. 'My baby have a rattle?' she cried. 'Why, what would Cyril say? As if he could stand a rattle in the house!' And if she didn't give that rattle to the janitor's wife that very day, while I was there!” “Humph!” sniffed Aunt Hannah again, as Billy rose to go. “Well, I'm thinking Marie has still some things to learn in this world--and Cyril, too, for that matter.” “I wouldn't wonder,” laughed Billy, giving Aunt Hannah a good-by kiss. CHAPTER XIII. PETE Bertram Henshaw had no disquieting forebodings this time concerning his portrait of Marguerite Winthrop when the doors of the Bohemian Ten Club Exhibition were thrown open to members and invited guests. Just how great a popular success it was destined to be, he could not know, of course, though he might have suspected it when he began to receive the admiring and hearty congratulations of his friends and fellow-artists on that first evening. Nor was the Winthrop portrait the only jewel in his crown on that occasion. His marvelously exquisite “The Rose,” and his smaller ideal picture, “Expectation,” came in for scarcely less commendation. There was no doubt now. The originator of the famous “Face of a Girl” had come into his own again. On all sides this was the verdict, one long-haired critic of international fame even claiming openly that Henshaw had not only equaled his former best work, but had gone beyond it, in both artistry and technique. It was a brilliant gathering. Society, as usual, in costly evening gowns and correct swallow-tails rubbed elbows with names famous in the world of Art and Letters. Everywhere were gay laughter and sparkling repartee. Even the austere-faced J. G. Winthrop unbent to the extent of grim smiles in response to the laudatory comments bestowed upon the pictured image of his idol, his beautiful daughter.