It was one o'clock before he knew it. He went downtown and had a hasty lunch, jealous of every moment that was not spent on his picture. The sight of it as he re-entered the room sent a thrill all over him; he was succeeding better than he could have expected, doing better than he thought he would. He felt sure that now he should do good work; every stage of the picture's progress was an inspiration for the next one. At this time the figures had only been "placed," broadly sketched in large lines, "blocked in" as he called it. The next step was the second drawing, much more finished. He rapped the stretcher sharply with his knuckles; it responded sonorously like a drumhead, the vibration shaking the charcoal from the tracings, filling the air with a fine dust. The outlines grew faint, just perceptible enough to guide him in the second more detailed drawing. He brought his stick of charcoal to a very fine edge and set to work carefully. In a moment he stopped and, with his chamois cloth, dusted out what he had drawn. He had made a false start, he began but could not recall how the lines should run, his fingers were willing enough; in his imagination he saw just how the outlines should be, but somehow he could not make his hand interpret what was in his head. Some third medium through which the one used to act upon the other was sluggish, dull; worse than that, it seemed to be absent. _"Well,"_ he muttered, "can't I make this come out right?" Then he tried more carefully. His imagination saw the picture clearer, his hand moved with more assurance, but the two seemed to act independently of each other. The forms he made on the canvas were no adequate reflection of those in his brain; some third delicate and subtle faculty that coordinated the other two and that called forth a sure and instant response to the dictates of his mind, was lacking. The lines on his canvas were those of a child just learning to draw; one saw for what they were intended, but they were crude, they had no life, no meaning. The very thing that would have made them intelligible, interpretive, that would have made them art, was absent. A third, a fourth, and a fifth time Vandover made the attempt. It was useless. He knew that it was not because his hand lacked cunning on account of long disuse; such a thing, in spite of popular belief, never happened to artists--a good artist might abandon his work for five years, ten years--and take it up again precisely where he had laid it down with no loss of technical skill. No, this thing seemed more subtle, so subtle that at first he could hardly grasp it. But suddenly a great fear came upon him, a momentary return of that wild hysterical terror from which he believed he had forever escaped.