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The work was already sold. Christian, happy that his sister could be aroused to this interest, suggested that a cast might be obtainable. ‘Write to Miss Walworth,’ he urged. ‘Bring yourself to her recollection.—I should think she must be the right kind of woman.’ Though at the time she shook her head, Marcella was presently tempted to address a letter to the artist, who responded with friendly invitation. In this way a new house was opened to her; but, simultaneously, one more illusion was destroyed. Knowing little of life, and much of literature, she pictured Miss Walworth as inhabiting a delightful Bohemian world, where the rules of conventionalism had no existence, and everything was judged by the brain-standard. Modern French biographies supplied all her ideas of studio society. She prepared herself for the first visit with a joyous tremor, wondering whether she would be deemed worthy to associate with the men and women who lived for art. The reality was a shock. In a large house at Chiswick she found a gathering of most respectable English people, chatting over the regulation tea-cup; not one of them inclined to disregard the dictates of Mrs. Grundy in dress, demeanour, or dialogue. Agatha Walworth lived with her parents and her sisters like any other irreproachable young woman. She had a nice little studio, and worked at modelling with a good deal of aptitude; but of Bohemia she knew nothing whatever, save by hearsay. Her ‘Nihilist’ was no indication of a rebellious spirit; some friend had happened to suggest that a certain female model, a Russian, would do very well for such a character, and the hint was tolerably well carried out—nothing more. Marcella returned in a mood of contemptuous disappointment. The cast she had desired to have was shortly sent to her as a gift, but she could take no pleasure in it.