Henry Bowen was a young artist of moderate talent, who had abandoned the farm on which he had labored1 as a boy, for the sake of pursuing his favorite profession. He was not competent to achieve the highest success. But he had good taste and a skillful hand, and his productions were pleasing and popular. He had formed a connection with a publisher of prints and engravings, who had thrown considerable work in his way.
"Have you any new commission to-day?" inquired the young artist, on the day before Ida's discovery that she had been employed to pass off spurious coin.
"Yes," said the publisher, "I have thought of something which may prove attractive. Just at present, pictures of children seem to be popular. I should like to have you supply me with a sketch2 of a flower girl, with, say, a basket of flowers in her hand. Do you comprehend my idea?"
"I believe I do," answered the artist. "Give me sufficient time, and I hope to satisfy you."
The young artist went home, and at once set to work upon the task he had undertaken. He had conceived that it would be an easy one, but found himself mistaken. Whether because his fancy was not sufficiently3 lively, or his mind was not in tune4, he was unable to produce the effect he desired. The faces which he successively outlined were all stiff, and though beautiful in feature, lacked the great charm of being expressive5 and lifelike.
"What is the matter with me?" he exclaimed, impatiently. "Is it impossible for me to succeed? It's clear," he decided6, "that I am not in the vein7. I will go out and take a walk, and perhaps while I am in the street something may strike me."
He accordingly donned his coat and hat, and emerged into the great thoroughfare, where he was soon lost in the throng8. It was only natural that, as he walked, with his task uppermost in his thoughts, he should scrutinize9 carefully the faces of such young girls as he met.
"Perhaps," it occurred to him, "I may get a hint from some face I see. It is strange," he mused10, "how few there are, even in the freshness of childhood, that can be called models of beauty. That child, for example, has beautiful eyes, but a badly cut mouth. Here is one that would be pretty, if the face were rounded out; and here is a child--Heaven help it!--that was designed to be beautiful, but want and unfavorable circumstances have pinched and cramped11 it."
It was at this point in the artist's soliloquy that, in turning the corner of a street, he came upon Peg12 and Ida.
The artist looked earnestly at the child's face, and his own lighted up with sudden pleasure, as one who stumbles upon success just as he had begun to despair of it.
"The very face I have been looking for!" he exclaimed to himself. "My flower girl is found at last."
He turned round, and followed Ida and her companion. Both stopped at a shop window to examine some articles which were on exhibition there.
"It is precisely13 the face I want," he murmured. "Nothing could be more appropriate or charming. With that face the success of the picture is assured."
The artist's inference that Peg was Ida's attendant was natural, since the child was dressed in a style quite superior to her companion. Peg thought that this would enable her, with less risk, to pass spurious coin.
The young man followed the strangely assorted14 pair to the apartments which Peg occupied. From the conversation which he overheard he learned that he had been mistaken in his supposition as to the relation between the two, and that, singular as it seemed, Peg had the guardianship15 of the child. This made his course clearer. He mounted the stairs and knocked at the door.
"What do you want?" demanded a sharp voice.
"I should like to see you just a moment," was the reply.
"I don't know you," she said, shortly.
"I presume not," said the young man, courteously17. "We have never met, I think. I am an artist. I hope you will pardon my present intrusion."
"There is no use in your coming here," said Peg, abruptly18, "and you may as well go away. I don't want to buy any pictures. I've got plenty of better ways to spend my money than to throw it away on such trash."
No one would have thought of doubting Peg's word, for she looked far from being a patron of the arts.
"You have a young girl living with you, about seven or eight years old, have you not?" inquired the artist.
Peg instantly became suspicious.
"Who told you that?" she demanded, quickly.
"No one told me. I saw her in the street."
Peg at once conceived the idea that her visitor was aware of the fact that the child had been lured19 away from home; possibly he might be acquainted with the cooper's family? or might be their emissary.
"Suppose you did see such a child on the street, what has that to do with me?"
"But I saw the child entering this house with you."
"I was about," said the artist, perceiving that he was misapprehended, "I was about to make a proposition which may prove advantageous21 to both of us."
"I must explain," said Bowen, "that I am an artist. In seeking for a face to sketch from, I have been struck by that of your child."
"Of Ida?"
"Yes, if that is her name. I will pay you five dollars if you will allow me to copy her face."
"Well," she said, more graciously, "if that's all you want, I don't know as I have any objections. I suppose you can copy her face here as well as anywhere?"
"I should prefer to have her come to my studio."
"I shan't let her come," said Peg, decidedly.
"Then I will consent to your terms, and come here."
"Do you want to begin now?"
"I should like to do so."
"Come in, then. Here, Ida, I want you."
"Yes, Peg."
"This gentleman wants to copy your face."
Ida looked surprised.
"I am an artist," said the young man, with a reassuring23 smile. "I will endeavor not to try your patience too much, or keep you too long. Do you think you can stand still for half an hour without too much fatigue24?"
He kept her in pleasant conversation, while, with a free, bold hand he sketched25 the outlines of her face.
"I shall want one more sitting," he said. "I will come to-morrow at this time."
"Stop a minute," said Peg. "I should like the money in advance. How do I know you will come again?"
"Certainly, if you desire it," said Henry Bowen.
"What strange fortune," he thought, "can have brought them together? Surely there can be no relation between this sweet child and that ugly old woman!"
The next day he returned and completed his sketch, which was at once placed in the hands of the publisher, eliciting26 his warm approval.
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1
labored
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| adj.吃力的，谨慎的v.努力争取(for)( labor的过去式和过去分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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sufficiently
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| adv.足够地，充分地 | |
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tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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throng
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| n.人群，群众；v.拥挤，群集 | |
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scrutinize
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| n.详细检查，细读 | |
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mused
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| v.沉思，冥想( muse的过去式和过去分词 )；沉思自语说（某事） | |
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11
cramped
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| a.狭窄的 | |
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peg
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| n.木栓，木钉；vt.用木钉钉，用短桩固定 | |
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13
precisely
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| adv.恰好，正好，精确地，细致地 | |
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14
assorted
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| adj.各种各样的，各色俱备的 | |
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15
guardianship
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| n. 监护, 保护, 守护 | |
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16
partially
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| adv.部分地，从某些方面讲 | |
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courteously
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| adv.有礼貌地，亲切地 | |
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abruptly
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| adv.突然地，出其不意地 | |
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lured
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| 吸引，引诱（lure的过去式与过去分词形式） | |
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defiantly
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| adv.挑战地，大胆对抗地 | |
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advantageous
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| adj.有利的；有帮助的 | |
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22
catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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reassuring
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| a.使人消除恐惧和疑虑的，使人放心的 | |
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24
fatigue
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| n.疲劳，劳累 | |
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sketched
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| v.草拟（sketch的过去式与过去分词形式） | |
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eliciting
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| n. 诱发, 引出 动词elicit的现在分词形式 | |
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