Confidence [2]
glanced back at the church door, as if under the impulse to retrace her steps. She stood there a moment longer-- long enough to let him see that she was a person of easy attitudes-- and then she walked away slowly to the parapet of the terrace. Here she stationed herself, leaning her arms upon the high stone ledge, presenting her back to Longueville, and gazing at rural Italy. Longueville went on with his sketch, but less attentively than before. He wondered what this young lady was doing there alone, and then it occurred to him that her companion--her mother, presumably--was in the church. The two ladies had been in the church when he arrived; women liked to sit in churches; they had been there more than half an hour, and the mother had not enough of it even yet. The young lady, however, at present preferred the view that Longueville was painting; he became aware that she had placed herself in the very centre of his foreground. His first feeling was that she would spoil it; his second was that she would improve it. Little by little she turned more into profile, leaning only one arm upon the parapet, while the other hand, holding her folded parasol, hung down at her side. She was motionless; it was almost as if she were standing there on purpose to be drawn. Yes, certainly she improved the picture. Her profile, delicate and thin, defined itself against the sky, in the clear shadow of a coquettish hat; her figure was light; she bent and leaned easily; she wore a gray dress, fastened up as was then the fashion, and displaying the broad edge of a crimson petticoat. She kept her position; she seemed absorbed in the view. "Is she posing--is she attitudinizing for my benefit?" Longueville asked of himself. And then it seemed to him that this was a needless assumption, for the prospect was quite beautiful enough to be looked at for itself, and there was nothing impossible in a pretty girl having a love of fine landscape. "But posing or not," he went on, "I will put her into my sketch. She has simply put herself in. It will give it a human interest. There is nothing like having a human interest." So, with the ready skill that he possessed, he introduced the young girl's figure into his foreground, and at the end of ten minutes he had almost made something that had the form of a likeness. "If she will only be quiet for another ten minutes," he said, "the thing will really be a picture." Unfortunately, the young lady was not quiet; she had apparently had enough of her attitude and her view. She turned away, facing Longueville again, and slowly came back, as if to re-enter the church. To do so she had to pass near him, and as she approached he instinctively got up, holding his drawing in one hand. She looked at him again, with that expression that he had mentally characterized as "bold," a few minutes before--with dark, intelligent eyes. Her hair was dark and dense; she was a strikingly handsome girl.
"I am so sorry you moved," he said, confidently, in English. "You were so--so beautiful."
She stopped, looking at him more directly than ever; and she looked at his sketch, which he held out toward her. At the sketch, however, she only glanced, whereas there was observation in the eye that she bent upon Longueville. He never knew whether she had blushed; he afterward thought she might have been frightened. Nevertheless, it was not exactly terror that appeared to dictate her answer to Longueville's speech.
"I am much obliged to you. Don't you think you have looked at me enough?"
"By no means. I should like so much to finish my drawing."
"I am not a professional model," said the young lady.
"No. That 's my difficulty," Longueville answered, laughing. "I can't propose to remunerate you."
The young lady seemed to think this joke in indifferent taste. She turned away in silence; but something in her expression, in his feeling at the time, in the situation, incited Longueville to higher play. He felt a lively need of carrying his point.
"You see it will be pure kindness," he went on,--"a simple act
"I am so sorry you moved," he said, confidently, in English. "You were so--so beautiful."
She stopped, looking at him more directly than ever; and she looked at his sketch, which he held out toward her. At the sketch, however, she only glanced, whereas there was observation in the eye that she bent upon Longueville. He never knew whether she had blushed; he afterward thought she might have been frightened. Nevertheless, it was not exactly terror that appeared to dictate her answer to Longueville's speech.
"I am much obliged to you. Don't you think you have looked at me enough?"
"By no means. I should like so much to finish my drawing."
"I am not a professional model," said the young lady.
"No. That 's my difficulty," Longueville answered, laughing. "I can't propose to remunerate you."
The young lady seemed to think this joke in indifferent taste. She turned away in silence; but something in her expression, in his feeling at the time, in the situation, incited Longueville to higher play. He felt a lively need of carrying his point.
"You see it will be pure kindness," he went on,--"a simple act