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Between Christian and her there was no avowed confidence, but each knew the other’s secret; their mutual affection never spoke itself in words, yet none the less it was indispensable to their lives. Deprived of his sister’s company, Christian must have yielded to the vice which had already too strong a hold upon him, and have become a maudlin drunkard. Left to herself, Marcella had but slender support against a grim temptation already beckoning her in nights of sleeplessness. Of the two, her nature was the more tragic. Circumstances aiding, Christian might still forget his melancholy, abandon the whisky bottle, and pass a lifetime of amiable uxoriousness, varied with scientific enthusiasm. But for Marcella, frustrate in the desire with which every impulse of her being had identified itself, what future could be imagined? When a day or two of sunlight (the rays through a semi-opaque atmosphere which London has to accept with gratitude) had announced that the seven-months’ winter was overcome, and when the newspapers began to speak, after their fashion, of pictures awaiting scrutiny, Christian exerted himself to rouse his sister from her growing indolence. He succeeded in taking her to the Academy. Among the works of sculpture, set apart for the indifference of the public, was a female head, catalogued as ‘A Nihilist’—in itself interesting, and specially so to Marcella, because it was executed by an artist whose name she recognised as that of a schoolmate, Agatha Walworth. She spoke of the circumstance to Christian, and added: ‘I should like to have that. Let us go and see the price.’