She laughed harshly. "And what has that to do with it?" "I thought that if you knew, it might help you to understand the situation," he answered simply. "I understand the situation, very well," she retorted, "but you do not appear to. The situation is this: I--I was interested in you--as an artist. I, because my position in the world enabled me to help you, commissioned you to paint my portrait. You are unknown, with no name, no place in the world. I could have given you success. I could have introduced you to the people that you must know if you are to succeed. My influence would insure you a favorable reception from those who make the reputations of men like you. I could have made you the rage. I could have made you famous. And now--" "Now," he said calmly, "you will exert your influence to hinder me in my work. Because I have not pleased you, you will use whatever power you have to ruin me. Is that what you mean, Mrs. Taine?" "You have made your choice. You must take the consequences," she replied coldly, and turned to leave the studio. In the doorway, stood the woman with the disfigured face. Conrad Lagrange stood near. XLI Marks of the Beast When Mrs. Taine would have passed out of the studio, the woman with the disfigured face said, "Wait madam, I must speak to you." Aaron King recalled that strange scene at the depot, the day of his arrival in Fairlands. "I have nothing to say to you"--returned Mrs. Taine, coldly--"stand aside please." But Conrad Lagrange quietly closed the door. "I think, Mrs. Taine," he remarked dryly, "than you will be interested in what Miss Willard has to say." "Oh, very well," returned the other, making the best of the situation. "Evidently, you heard what I just said to your protege." The novelist answered, "We did. Accept my compliments madam; you did it very nicely." "Thanks," she retorted, "I see you still play your role of protector. You might tell your charge whether or not I am mistaken as to the probable result of his--ah--artistic conscientiousness." "Mr. King knows that you are not. You have, indeed, put the situation rather mildly. It is a sad fact, but, never-the-less, a fact, that the noblest work is often forced to remain unrecognized and unknown to the world by the same methods that are used to exalt the unworthy. You undoubtedly have the power of which you boast, Mrs. Taine, but--" "But what?" she said triumphantly. "You think I will hesitate to use my influence?" "I _know_ you will not use it--in this case," came the unexpected answer. She laughed mockingly, "And why not? What will prevent?" "The one thing on earth, that you fear, madam"--answered Conrad Lagrange--"the eyes of the world." Aaron King listened, amazed. "I don't think I understand," said Mrs. Taine, coldly. "No? That is what Miss Willard proposes to explain," returned the novelist. She turned haughtily toward the woman with the disfigured face. "What can this poor creature say to anything I propose?"