“Oh, yes,” answered the girl. “Ever since I’ve been on my own.” “How did she come to fall in love with you?” asked Joan. “I don’t mean to be uncomplimentary, Dad.” She laughed, taking his hand in hers and stroking it. “You must have been ridiculously handsome, when you were young. And you must always have been strong and brave and clever. I can see such a lot of women falling in love with you. But not the artistic woman.”!

“Interviewing?” he suggested. “No,” he answered. “We used to write to one another until she gave it up. She had got into the habit of looking upon me as a harmless sort of thing to confide in and ask advice of—which she never took.”

Madge finished buttering her buns. “Kant, wasn’t it,” she answered, “who marvelled chiefly at two things: the starry firmament above him and the moral law within him. And they’re one and the same, if he’d only thought it out. It’s rather big to be good.” “The Cyril Baptiste,” he answered, in a low, even, passionate voice, that he flung at her almost like a blow. “The atheist, the gaol bird, the pariah, the blasphemer, the anti-Christ. I’ve hoofs instead of feet. Shall I take off my boots and show them to you? I tuck my tail inside my coat. You can’t see my horns. I’ve cut them off close to my head. That’s why I wear my hair long: to hide the stumps.” A figure was loitering the other side of the street when she reached home. She thought she somehow recognized it, and crossed over. It was McKean, smoking his everlasting pipe. Success having demanded some such change, he had migrated to “The Albany,” and she had not seen him for some time. He had come to have a last look at the house—in case it might happen to be the last. He was off to Scotland the next morning, where he intended to “join up.”