Michael never surrendered to disillusion the first impression of his entrance that August morning. In one moment of that large untidy room looking over the city that most consciously of all cities has taken account of artists he seemed to capture the symbol of the artist’s justification. Stella’s chestnut hair streamed down her straight back like a warm drift of autumn leaves. She had not finished dressing yet, and the bareness of her arms seemed appropriate to that Hungarian dance she played. All the room was permeated with the smell of paint, and before an easel stood a girl in long unsmocked gown of green linen. This girl Michael had never seen, but he realized her personality as somehow inseparably associated with that hot-blooded Bacchante on whose dewy crimson mouth at the moment her brush rested. Geranium flowers, pierced by the slanting rays of the sun, stood on the window-sill of an inner room whose door was open. Stella did not stop to finish the dance she was playing, but jumped up to greet Michael, and in the fugitive silence that followed his introduction to her friend Clarissa Vine, he heard the murmur of ordinary life without which drowned by the lightest laugh nevertheless persisted unobtrusive and imperturbable. Yet, for all Michael’s relief at finding Stella at least superficially all right, he could not help disapproving a little of that swift change of plan which, without a word of warning to himself before the arrival of the telegram in Cornwall, had brought her from London to Paris. Nor could he repress a slight feeling of hostility toward Miss Clarissa Vine whose exuberant air did not consort well with his idea of a friend for Stella. He was certainly glad, whether he were needed or not, that he had come rather quickly. Clarie was going to paint all that morning, and Michael, who was restless after his journey, persuaded Stella to abandon music for that day and through the dancing streets of Paris come walking. The brother and sister went silently for a while along the river’s bank. “Well,” said Michael at last, “why did you wire for me?” “I wanted you.” Stella spoke so simply and so naturally that he was inclined to ask no more questions and to accept the situation as one created merely by Stella’s impetuousness. But he could not resist a little pressure, and begged to know whether there were no other reason for wanting him but a fancy for his company. Stella agreed there might be, and then suddenly she plunged into her reasons. First, she took Michael back to last autumn and a postscript she had written to a letter. “Do you remember how I said that academic perfection was not enough for an artist, that there was also life to be lived?” Michael said he remembered the letter very well indeed, and asked just how she proposed to put her theory to the test. “I told you that a youth was painting me.”