in details, became gradually definite and particular as they came nearer, and were suggestive of conscious design, where they edged a broken, tumultuous river. Overlook was shelved so high on a precipitous mountain that, from Mary's point of vision, the foreground almost directly underneath passed out of her sight, and it was as though the spectator stood on a platform before a painted canvas, too spacious for exhibition in an ordinary manner. But in this work the shapes and the colors, the grandeur and the beauty were inconceivably beyond human copying.

Gerald Heath appeared to feel, however, that if he was not the painter of this enormous landscape, he at least had the proprietary interest of a discoverer, and it was with something of the air of an art collector, proudly extolling his choicest possession, that he turned his eyes from it to Mary Warriner. The expression of admiration on her face, although quiet and delicate, was quite satisfactory—for a moment only; and then the denotement of delight passed out of her visage, as though expelled by some physical pang. It was the suddenness of the change, for it was of itself very slight, that made it perceptible. Gerald instinctively turned to look for the cause.

Into the picture had come a human figure. A few yards in front of the hut stood a man. In relation to the landscape far beyond he was gigantic, and the shade of the trees made him devilishly black by contrast with the sunlight of heaven that illumined the rest. He was thus for an instant in silhouette, and it chanced that his sharp outlines included a facial profile, with the points of a mustache and beard giving satanic suggestion to an accidental attitude of malicious intrusion. The illusion was almost startling, but it was momentary, and then the form became the commonplace one of Tonio Ravelli, who walked under the shelter.

"Do-a I eentrude?" he asked, with an Italian accent and an Italian bearing. "I suppose no, eh? Thece ees a placa beesness."

Mary's small departure from a business-like perfunctory manner ended at once. She took the scrap of paper which Ravelli laid on her desk, and without a word translated its writing into telegraphic clicks. Ravelli was a sub-contractor, and this was one of his frequent communications with officials at the company's city office. The response was likely to be immediate, and he waited for it.

"To get the full value of this view," Gerald Heath resumed, and now he addressed himself to Mary directly, as though with almost a purpose of ignoring Ravelli, to whose 

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