Then staring at the floor a moment and stroking his moustache, he rested his pleasant eyes on me with the remark: "He said you were the right one." "I try to be, when people want to sit." "Yes, we should like to," said the lady anxiously.
"Do you mean together ?" My visitors exchanged a glance.

"If you could do anything with ME I suppose it would be double," the gentleman stammered.
"Oh yes, there's naturally a higher charge for two figures than for one." "We should like to make it pay," the husband confessed.
"That's very good of you," I returned, appreciating so unwonted a sympathy--for I supposed he meant pay the artist.
A sense of strangeness seemed to dawn on the lady.

"We mean for the illustrations--Mr.Rivet said you might put one in." "Put in--an illustration ?" I was equally confused.
"Sketch her off, you know," said the gentleman, colouring.
It was only then that I understood the service Claude Rivet had rendered me; he had told them how I worked in black-and-white, for magazines, for story-books, for sketches of contemporary life, and consequently had copious employment for models.

These things were true, but it was not less true--I may confess it now; whether because the aspiration was to lead to everything or to nothing I leave the reader to guess--that I couldn't get the honours, to say nothing of the emoluments, of a great painter of portraits out of my head.

My "illustrations" were my pot-boilers; I looked to a different branch of art--far and away the most interesting it had always seemed to me--to perpetuate my fame.
There was no shame in looking to it also to make my fortune but that fortune was by so much further from being made from the moment my visitors wished to be "done" for nothing.