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MARTHA KEENE had been at work for several months in Etienne’s atelier, in the Latin quarter of Paris, and although her appearance would have led one to believe her frail in health, she had never missed a working-day, and always occupied a good position well in view of the model, because she always came among the earliest to secure it. Her work was far from brilliant, and Etienne had noticed her very little at first. If he did so more of late, it was her ability to stick which had won her this favor. So many students had come and gone, rousing his hopes only to disappoint them, that it had got to be rather a comfort to the little old man to be sure of one earnest worker always in her place; and while he could not say that her work was good, it was certainly not bad. Recently he had told Martha this several times. “Not bad” was about the highest praise that most of Etienne’s pupils got from him; and when the young American girl heard it for the first time applied to her work, she experienced what was perhaps one of the most thrilling sensations of her life. It was followed by another thrilling sensation; for, as she looked up from the canvas which the master had thus commended, she met the beautiful eyes of the princess, turned upon her with a congratulatory smile. It was almost too much for Martha. Her heart thumped so that her breathing became rapid and a little difficult. Instead of answering the princess’s smile, a frown contracted her forehead; for she was afraid that she was going to lose her self-control, and she needed a stern effort not to do so. Martha had a heart which was made for worshiping. Etienne and the princess were two of the people that she worshiped, and there was a third. When Etienne had passed on, after smudging one part of her drawing with his thumb until it was a dirty blur, and scratching another part with ruthless streaks of soft charcoal, she remembered she had received his first words of encouragement rather coldly, and had made the same sort of return for the princess’s smile. This plunged her from a state of delight into one of wretchedness. She looked toward the master with some hope of making amends; but he was too absorbed in his next criticism, and it was only too evident that her chance was gone. Then she glanced at the princess, to receive the same impression from that quarter. The beautiful young woman on whom her eyes rested had stepped back from her easel, and with her head turned sidewise, and her eyelids drawn up, was looking at her picture. She held a brush in one hand, with the fingers delicately poised, and in the other her palette, laid with brilliant dabs of color. Her lips were pursed critically, and her whole attitude and expression showed such absorption in her work that Martha felt it would be absurd to imagine that she or her behavior could have any part in that beautiful lady’s consciousness. As usual, when Martha allowed herself to look at the princess, she forgot everything else. She had long ago had to make it a rule to place her easel so that she would be turned away from her enchantress while she was working; otherwise she could see and think only of her. At the present moment she was completely fascinated by the tall, strong figure, so firmly poised, with one foot advanced, and her body thrown backward from the slender waist, where a belt of old silver confined the folds of her red silk shirt-waist above the sweep of her skirt of dark green serge. This was her ordinary working-rig; and as she wore no apron, as most of the other students did, it was more or less streaked with paint. Martha herself wore her calico apron religiously, and was always neatly clothed beneath it; but she would have protested utterly against seeing her neighbor in an apron. It would have looked so unprincesslike! She was very tall and straight, this princess, and “Serene Highness” seemed to Martha to be written on every inch of her.