A pupil. Pupils were never to be abused, especially not now.

"I'm terribly sorry," he said. "I had a trying day in the city." Now turn it on. "I wouldn't tell everybody a terrible secret like this, but I've lost a commission. You understand? I thought so. Anybody who'd traipse out here to my dingy abode would be simpatica. Won't you sit down? No, not there—humor an artist and sit over there. The warm background of that still-life brings out your color—quite good color. Have you ever been painted? You've a very interesting face, you know. Some day I'd like to—but you mentioned classes.

"We have figure classes, male and female models alternating, on Tuesday nights. For that I have to be very stern and ask you to sign up for an entire course of twelve lessons at sixty dollars. It's the models' fees—they're exorbitant. Saturday afternoons we have still-life classes for beginners in oils. That's only two dollars a class, but you might sign up for a series of six and pay ten dollars in advance, which saves you two whole dollars. I also give private instructions to a few talented amateurs."

The price was open on that one—whatever the traffic would bear. It had been a year since he'd had a private pupil and she'd taken only six lessons at five dollars an hour.

"The still-life sounds interesting," said the girl, holding her head self-consciously the way they all did when he gave them the patter. It was a good head, carried well up. The muscles clung close, not yet slacked into geotropic loops and lumps. The line of youth is heliotropic, he confusedly thought. "I saw some interesting things back there. Was that your own work?"

She rose, obviously with the expectation of being taken into the studio. Her body was one of those long-lined, small-breasted, coltish jobs that the pre-Raphaelites loved to draw.

"Well—" said Halvorsen. A deliberate show of reluctance and then a bright smile of confidence. "You'll understand," he said positively and drew aside the curtains.

"What a curious place!" She wandered about, inspecting the drums of plaster, clay and plasticene, the racks of tools, the stands, the stones, the chisels, the forge, the kiln, the lumber, the glaze bench.

"I like this," she said determinedly, picking up a figure a half-meter tall, a Venus he had cast in bronze while studying under Labuerre some years ago. "How much is it?"

An honest answer 

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