groaned in spirit at the task before me, but made my best bow of acquiescence. Mademoiselle was not to be satisfied by a mere bow; she desired the pleasure of specially directing my attention, if I would be so amiable as to get up and approach her, to one of her bracelets in particular—the bracelet with the miniature, on her left wrist. It had been the gift of the dearest friend she ever had, and the miniature represented that friend's beloved and beautiful face. Could I make a tiny, tiny copy of that likeness in my drawing! Would I only be so obliging as to approach for one little moment, and see if such a thing were possible?
I obeyed unwillingly enough, expecting, from mademoiselle's expression, to see a commonplace portrait of some unfortunate admirer whom she had treated with unmerited severity in the days of her youth. To my astonishment, I found that the miniature, which was very beautifully painted, represented a woman's face—a young woman with kind, sad eyes, pale, delicate cheeks, light hair, and such a pure, tender, lovely expressions that I thought of Raphael's Madonnas the moment I looked at her portrait.
The old lady observed the impression which the miniature produced on me, and nodded her head in silence. 'What a beautiful, innocent, pure face!' I said.
Mademoiselle Clairfait gently brushed a particle of dust from the miniature with her handkerchief, and kissed it. 'I have three angels still left,' she said, looking at her pupils. 'They console me for the fourth, who has gone to heaven.'
She patted the face on the miniature gently with her little, withered, white fingers, as if it had been a living thing.
The sudden change in her manner, from the extreme of flighty gayety to the extreme of quiet sadness, would have looked theatrical in a woman of any other nation. It seemed, however, perfectly natural and appropriate in her. I went back to my drawing, rather perplexed. Who was 'Sister Rose'? Not one of the Lanfray family, apparently. The composure of the young ladies when the name was mentioned showed plainly enough that the original of the miniature had been no relation of theirs.
I tried to stifle my curiosity on the subject of Sister Rose, by giving myself entirely to my work. For a full half- hour, Mademoiselle Clairfait sat quietly before me, with her hands crossed on her lap, and her eyes fixed on the bracelet. This happy alteration enabled me to do something toward completing the outline of her face and figure. I might even, under fortunate circumstances, have vanquished the preliminary difficulties of my task at one effort; but the fates were against me that day. While I was still working rapidly and to my satisfaction, a servant knocked at the door to announce luncheon, and mademoiselle lightly roused herself from her serious reflection and her quiet position in a moment.
'Ah me!' she said, turning the miniature round on her wrist till it was out of sight. 'What animals we are, after all! The spiritual part of us is at the mercy of the stomach. My heart is absorbed by tender thoughts, yet I am not the less ready for luncheon! Come, my children and fellow-mortals.
With this quotation from 'Candide,' plaintively delivered, the old lady led the way out of the room, and was followed by her younger pupils. The eldest sister remained behind for a moment, and reminded me that the lunch was ready.
'I am afraid you have found the dear old soul rather an unruly sitter,' she said, noticing the look of dissatisfaction with which I was regarding my drawing. 'But she will improve as you go on. She has done better already for the last half-hour, has she not?'
'Much better,' I answered. 'My admiration of the miniature on the bracelet seemed—I suppose, by calling up some old associations—to have a strangely soothing effect on Mademoiselle Clairfait.'
'Ah yes! only remind her of the original of that portrait, and you change her directly, whatever she may have been saying or doing the moment before. Sometimes she talks of
'I presume that the lady described as 'Sister Rose' was a relation of Mademoiselle Clairfait's?'
'No, only a very dear friend. Mademoiselle Clairfait is the daughter of a silk-mercer, once established at Chalons-sur-Marne. Her father happened to give an asylum in his office to a lonely old man, to whom 'Sister Rose' and her brother had been greatly indebted in the revolutionary time; and out of a train of circumstances connected with that, the first acquaintance between mademoiselle and the friend whose portrait she wears, arose. After the time of her father's bankruptcy, and for many years before we were placed under her charge, our good old governess lived entirely with 'Sister Rose' and her brother. She must then have heard all the interesting things that she has since often repeated to my sisters and myself.'
'Might I suggest,' said I, after an instant's consideration, 'that the best way to give me a fair chance of studying Mademoiselle Clairfait's face at the next sitting, would be to lead her thoughts again to that quieting subject of the miniature, and to the events which the portrait recalls? It is really the only plan, after what I have observed this morning, that I can think of for enabling me to do myself and my sitter justice.'
'I am delighted to hear you say so,' replied the lady; 'for the execution of your plan, by me or by my sisters, will be the easiest thing in the world. A word from us at any time will set mademoiselle thinking, and talking too, of the friend of her youthful days. Depend on our assistance so far. And now let me show you the way to the luncheon- table.'
Two good results followed the ready rendering of the help I had asked from my host's daughters. I succeeded with my portrait of Mademoiselle Clairfait, and I heard the story which occupies the following pages.
In the case of the preceding narratives, I have repeated what was related to me, as nearly as possible in the very words of my sitters. In the case of this third story, it is impossible for me to proceed upon the same plan. The circumstances of 'Sister Rose's' eventful history were narrated to me at different times, and in the most fragmentary and discursive manner. Mademoiselle Clairfait characteristically mixed up with the direct interest of her story, not only references to places and people which had no recognizable connection with it, but outbursts of passionate political declamation, on the extreme liberal side—to say nothing of little tender apostrophes to her beloved friend, which sounded very prettily as she spoke them, but which would lose their effect altogether by being transferred to paper. Under these circumstances, I have thought it best to tell the story in my own way—rigidly adhering to the events of it exactly as they were related; and never interfering on my own responsibility except to keep order in the march of the incidents, and to present them, to the best of my ability, variously as well as interestingly to the reader.
THE FRENCH GOVERNESS'S STORY OF SISTER ROSE.
