George Goring and Mildred Stewart did not move in the same social set, but their sets had points of contact, and it was at these that Goring was now most likely to be found; especially at the pleasant bachelor house on Campden Hill. Mrs. Stewart walked in the Park every morning at an unfashionable hour, and sometimes, yet not too often for discretion, Goring happened to be walking there too. All told, their meetings were not very numerous, nor very private. But every half-hour they spent in each other's company seemed to do the work of a month of intimacy. July hastened to an end, but an autumn Session brought Goring up to town in November, and three months of absence found him and Mildred still at the same point. Sir Cyril Meres was already beginning to plan his wonderful _tableaux-vivants_, which, however, did not come off until February. The extraordinary imitative talent which his artistic career had been one long struggle to disguise, was for once to be allowed full play. The _tableaux_ were to represent paintings by certain fellow-artists and friends; not actual pictures by them, but pictures which they might have painted, and the supposed authors were allowed a right of veto or criticism. A stage of Renaissance design, which did not jar with the surrounding architecture, was erected in the depth of the portico at the end of the Hellenic room. The human material at Meres's command was physically admirable. He had long been the chosen portrait-painter of wealth and fashion, and there was not a beauty in Society, with the biggest "S," who was not delighted to lend her charms for his purpose. The young men might grumble for form's sake, but at the bottom of their hearts they were equally sensible to the compliment of being asked to appear. It was when it came to the moulding of the material for artistic purposes, that the trouble began. The English have produced great actors, but in the bulk they have little natural aptitude for the stage; and what they have is discouraged by a social training which strains after the ideal composure, the few movements, the glassy eye of a waxwork. Only a small and chosen number, it is true, fully attain that ideal; but when we see them we recognize with a start, almost with a shudder, that it is there, the perfection of our deportment. Cyril Meres was, however, an admirable stage-manager, exquisite in tact, in temper, and urbane patience. The results of his prolonged training were wonderful; yet again and again he found it impossible to carry out his idea without placing his cousin Mrs. Stewart at the vital point of his picture. She was certainly not the most physically beautiful woman there, but she was unrivalled by any other in the grace, the variety, the meaning of her gestures, the dramatic transformations of her countenance. She was Pandora, she was Hope, she was Lady Hammerton, she was the Vampire, and she was the Queen of Faerie.