To make matters worse, he was in love. The girl he loved was Laura Merton, the daughter of a retired Colonel who had lost his temper and his digestion in India, and had never found either of them again. Laura adored him, and he was ready to kiss her shoe-strings. They were the handsomest couple in London, and had not a penny-piece between them. The Colonel was very fond of Hughie, but would not hear of any engagement.

  “Come to me, my boy, when you have got ten thousand pounds of your own, and we will see about it,” he used to say; and Hughie looked very glum on those days, and had to go to Laura for consolation.

  One morning, as he was on his way to Holland Park, where the Mertons lived, he dropped in to see a great friend of his, Alan Trevor. Trevor was a painter. Indeed, few people escape that nowadays. But he was also an artist, and artists are rather rare. Personally he was a strange rough fellow, with a freckled face and a red ragged beard. However, when he took up the brush he was a real master, and his pictures were eagerly sought after. He had been very much attracted by Hughie at first, it must be acknowledged, entirely on account of his personal charm. “The only people a painter should know,” he used to say, “are people who are bête and beautiful, people who are an artistic pleasure to look at and an intellectual repose to talk to. Men who are dandies and women who are darlings rule the world, at least they should do so.” However, after he got to know Hughie better, he liked him quite as much for his bright buoyant spirits and his generous reckless nature, and had given him the permanent entrée to his studio.

  When Hughie came in he found Trevor putting the finishing touches to a wonderful life-size picture of a beggar-man. The beggar himself was standing on a raised platform in a corner of the studio. He was a wizened old man, with a face like wrinkled parchment, and a most piteous expression. Over his shoulders was flung a coarse brown cloak, all tears and tatters; his thick boots were patched and cobbled, and with one hand he leant on a rough stick, while with the other he held out his battered hat for alms.

  “What an amazing model!” whispered Hughie, as he shook hands with his friend.

  “An amazing model?” shouted Trevor at the top of his voice; “I should think so! Such beggars as he are not to be met with every day. A trouvaille, mon cher; a living Velasquez! My stars! what an etching Rembrandt would have made of him!”

  “Poor old chap!” said Hughie, “how miserable he looks! But I suppose, to you painters, his face is his fortune?”

  “Certainly,” replied Trevor, “you don’t want a beggar to look happy, do you?”

  “How much does a model get for sitting?” asked Hughie, as he found himself a comfortable seat on a divan.

  “A shilling an hour.”

  “And how much do you get for your picture, Alan?”

  “Oh, for this I get two thousand!”

  “Pounds?”

  “Guineas. Painters, poets, and physicians always get guineas.”

  “Well, I think the model should have a percentage,” cried Hughie, laughing; “they work quite as hard as you do.”

  “Nonsense, nonsense! Why, look at the trouble of laying on the paint alone, and standing all day long at one’s easel! It’s all very well, Hughie, for you to talk, but I assure you that there are moments when Art almost attains to the dignity of manual labour. But you mustn’t chatter; I’m very busy. Smoke a cigarette, and keep quiet.”

  After some time the servant came in, and told Trevor that the frame-maker wanted to speak to him.

  “Don’t run away, Hughie,” he said, as he went out, “I will be back in a moment.”

  The old beggar-man took advantage of Trevor’s absence to rest for a moment on a wooden bench that was behind him. He looked so forlorn and wretched that Hughie could not help pitying him, and felt in his pockets to see what money he had. All he could find was a sovereign and some coppers. “Poor old fellow,” he thought to himself, “he wants it more than I do, but it means no hansoms for a fortnight”; and he walked across the studio and slipped the sovereign into the beggar’s hand.

  The old man started, and a faint smile flitted across his withered lips. “Thank you, sir,” he said, “thank you.”

  Then Trevor arrived, and Hughie took his leave, blushing a little at what he had done. He spent the day with Laura, got a charming scolding for his extravagance, and had to walk home.

  That night he strolled into the Palette Club about eleven o’clock, and found Trevor sitting by himself in the smoking-room drinking hock and seltzer.

  “Well, Alan, did you get the picture finished all right?” he said, as he lit his cigarette.

  “Finished and framed, my boy!” answered Trevor; “and, by-the-bye, you have made a conquest. That old model you saw is quite devoted to you. I had to tell him all about you—who you are, where you live, what your income is, what prospects you have—”

  “My dear Alan,” cried Hughie, “I shall probably find him waiting for me when I go home. But of course you are only joking. Poor old wretch! I wish I could do something for him. I think it is dreadful that any one should be so miserable. I have got heaps of old clothes at home—do you think he would care for any of them? Why, his rags were falling to bits.”

  “But he looks splendid in them,” said Trevor. “I wouldn’t paint him in a frock-coat for anything. What you call rags I call romance. What seems poverty to you is picturesqueness to me. However, I’ll tell him of your offer.”

  “Alan,” said Hughie seriously, “you painters are a heartless lot.”

  “An artist’s heart is his head,” replied Trevor; “and besides, our business is to realise the world as we see it, not to reform it as we know it. A chacun son métier. And now tell me how Laura is. The old model was quite interested in her.”

  “You don’t mean to say you talked to him about her?” said Hughie.

  “Certainly I did. He knows all about the relentless colonel, the lovely Laura, and the £10,000.”

  “You told that old beggar all my private affairs?” cried Hughie, looking very red and angry.

  “My dear boy,” said Trevor, smiling, “that old beggar, as you call him, is one of the richest men in Europe. He could buy all London to-morrow without overdrawing his account. He has a house in every capital, dines off gold plate, and can prevent Russia going to war when he chooses.”

  “What on earth do you mean?” exclaimed Hughie.

  “What I say,” said Trevor. “The old man you saw to-day in the studio was Baron Hausberg. He is a great friend of mine, buys all my pictures and that sort of thing, and gave me a commission a month ago to paint him as a beggar. Que voulez-vous? La fantaisie d’un millionnaire! And I must say he made a magnificent figure in his rags, or perhaps I should say in my rags; they are an old suit I got in Spain.”

  “Baron Hausberg!” cried Hughie. “Good heavens! I gave him a sovereign!” and he sank into an armchair the picture of dismay.

  “Gave him a sovereign!” shouted Trevor, and he burst into a roar of laughter. “My dear boy, you’ll never see it again. Son affaire c’est l’argent des autres.”

  “I think you might have told me, Alan,” said Hughie sulkily, “and not have let me make such a fool of myself.”

  “Well, to begin with, Hughie,” said Trevor, “it never entered my mind that you went about distributing alms in that reckless way. I can understand your kissing a pretty model, but your giving a sovereign to an ugly one—by Jove, no! Besides, the fact is that I really was not at home to-day to any one; and when you came in I didn’t know whether Hausberg would like his name mentioned. You know he wasn’t in full dress.”

  “What a duffer he must think me!” said Hughie.

  “Not at all. he was in the highest spirits after you left; kept chuckling to himself and rubbing his old wrinkled hands together. I couldn’t make out why he was so interested to know all about you; but I see it all now. He’ll invest your sovereign for you, Hughie, pay you the interest every six months, and have a capital story to tell after dinner.”

  “I am an unlucky devil,” growled Hughie. “The best thing I can do is go to bed; and, my dear Alan, you mustn’t tell any one. I shouldn’t dare show my face in the Row.”

  “Nonsense! It reflects the highest credit on your philanthropic spirit, Hughie. And don’t run away. Have another cigarette, and you can talk about Laura as much as you like.”

  However, Hughie wouldn’t stop, but walked home, feeling very unhappy, and leaving Alan Trevor in fits of laughter.

  The next morning, as he was at breakfast, the servant brought him up a card on which was written, “Monsieur Gustave Naudin, de la part de M. le Baron Hausberg.” “I suppose he has come for an apology,” said Hughie to himself; and he told the servant to show the visitor up.

  An old gentleman with gold spectacles and grey hair came into the room, and said, in a slight French accent, “Have I the honour of addressing Monsieur Erskine?”

  Hughie bowed.

  “I have come from Baron Hausberg,” he continued. “The Baron—”

  “I beg, sir, that you will offer him my sincerest apologies,” stammered Hughie.

  “The Baron,” said the old gentleman with a smile, “has commissioned me to bring you this letter,” and he extended a sealed envelope.

  On the outside was written, “A wedding present to Hugh Erskine and Laura Merton, from an old beggar,” and inside was a cheque for £10,000.

  When they were married Alan Trevor was the best-man, and the Baron made a speech at the wedding-breakfast.

  “Millionaire models,” remarked Alan, “are rare enough; but, by Jove, model millionaires are rarer still!”

  THE ARTIST

  ONE EVENING there came into his soul the desire to fashion an image of The Pleasure that abideth for a Moment. And he went forth into the world to look for bronze. For he could only think in bronze.

  But all the bronze of the whole world had disappeared, nor anywhere in the whole world was there any bronze to be found, save only the bronze of the image of The Sorrow that endureth for Ever.

  Now this image he had himself, and with his own hands, fashioned, and had set it on the tomb of the one thing he had loved in life. On the tomb of the dead thing he had most loved had he set this image of his own fashioning, that it might serve as a sign of the love of man that dieth not, and a symbol of the sorrow of man that endureth for ever. And in the whole world there was no other bronze save the bronze of this image.

  And he took the image he had fashioned, and set it in a great furnace, and gave it to the fire.

  And out of the bronze of the image of The Sorrow that endureth for Ever he fashioned an image of The Pleasure that abideth for a Moment.

  THE DOER OF GOOD

  IT WAS night-time and He was alone.

  And He saw afar-off the walls of a round city and went towards the city.

  And when He came near He heard within the city the tread of the feet of joy, and the laughter of the mouth of gladness and the loud noise of many lutes. And He knocked at the gate and certain of the gatekeepers opened to Him.

  And He beheld a house that was of marble and had fair pillars of marble before it. The pillars were hung with garlands, and within and without there were torches of cedar. And He entered the house.

  And when He had passed through the hall of chalcedony and the hall of jasper, and reached the long hall of feasting, He saw lying on a couch of sea-purple one whose hair was crowned with red roses and whose lips were red with wine.

  And He went behind him and touched him on the shoulder and said to him, “Why do you live like this?”

  And the young man turned round and recognised Him, and made answer and said, “But I was a leper once, and you healed me. How else should I live?”

  And He passed out of the house and went again into the street.

  And after a little while He saw one whose face and raiment were painted and whose feet were shod with pearls. And behind her came, slowly as a hunter, a young man who wore a cloak of two colours. Now the face of the woman was as the fair face of an idol, and the eyes of the young man were bright with lust.

  And He followed swiftly and touched the hand of the young man and said to him, “Why do you look at this woman and in such wise?”

  And the young man turned round and recognised Him and said, “But I was blind once, and you gave me sight. At what else should I look?”

  And He ran forward and touched the painted raiment of the woman and said to her, “Is there no other way in which to walk save the way of sin?”

  And the woman turned round and recognised Him, and laughed and said, “But you forgave me my sins, and the way is a pleasant way.”

  And He passed out of the city.

  And when He had passed out of the city He saw seated by the roadside a young man who was weeping.

  And He went towards him and touched the long locks of his hair and said to him, “Why are you weeping?”

  And the young man looked up and recognised Him and made answer, “But I was dead once and you raised me from the dead. What else should I do but weep?”

  THE DISCIPLE

  WHEN NARCISSUS died the pool of his pleasure changed from a cup of sweet waters into a cup of salt tears, and the Oreads came weeping through the woodland that they might sing to the pool and give it comfort.

  And when they saw that the pool had changed from a cup of sweet waters into a cup of salt tears, they loosened the green tresses of their hair and cried to the pool and said, “We do not wonder that you should mourn in this manner for Narcissus, so beautiful was he.”

  “But was Narcissus beautiful?” said the pool.

  “Who should know that better than you?” answered Oreads. “Us did he ever pass by, but you he sought for, and would lie on your banks and look down at you, and in the mirror of your waters he would mirror his own beauty.”

  And the pool answered, “But I loved Narcissus because, as he lay on my banks and looked down at me, in the mirror of his eyes I saw ever my own beauty mirrored.”

  THE MASTER

  NOW WHEN the darkness came over the earth Joseph of Arimathea, having lighted a torch of pinewood, passed down from the hill into the valley. For he had business in his own home.

  And kneeling on the flint stones of the Valley of Desolation he saw a young man who was naked and weeping. His hair was the colour of honey, and his body was as a white flower, but he had wounded his body with thorns and on his hair had he set ashes as a crown.

  And he who had great possessions said to the young man who was naked and weeping, “I do not wonder that your sorrow is so great, for surely He was just a man.”

  And the young man answered, “It is not for Him that I am weeping, but for myself. I too have changed water into wine, and I have healed the leper and given sight to the blind. I have walked upon the waters, and from the dwellers in the tombs I have cast out devils. I have fed the hungry in the desert where there was no food, and I have raised the dead from their narrow houses, and at my bidding, and before a great multitude of people, a barren fig-tree withered away. All things that this man has done I have done also. And yet they have not crucified me.”

  THE HOUSE OF JUDGMENT

  AND THERE was silence in the House of Judgment, and the Man came naked before God.

  And God opened the Book of the Life of the Man.

  And God said to the Man, “Thy life hath been evil, and thou hast shown cruelty to those who were in need of succour, and to those who lacked help thou hast been bitter and hard of heart. The poor called to thee and thou didst not hearken, and thine ears were closed to the cry of My afflicted. The inheritance of the fatherless thou didst take unto thyself, and thou didst send the foxes into the vineyard of thy neighbour’s field. Thou didst take the bread of the children and give it to the dogs to eat, and My lepers who lived in the marshes, and were at peace and praised Me, thou didst drive forth on to the highways, and on Mine earth out of which I made thee thou didst spill innocent blood.”

  And the Man made answer and said, “Even so did I.”

  And again God opened the Book of the Life of the Man.

  And God said to the Man, “Thy life hath been evil, and the Beauty I have shown thou hast sought for, and the Good I have hidden thou didst pass by. The walls of thy chamber were painted with images, and from the bed of thine abominations thou didst rise up to the sound of flutes. Thou didst build seven altars to the sins I have suffered, and didst eat of the thing that may not be eaten, and the purple of thy raiment was broidered with the three signs of shame. Thine idols were neither of gold nor of silver that endure, but of flesh that dieth. Thou didst stain their hair with perfumes and put pomegranates in their hands. Thou didst stain their feet with saffron and spread carpets before them. With antimony thou didst stain their eyelids and their bodies thou didst smear with myrrh. Thou didst bow thyself to the ground before them, and the thrones of thine idols were set in the sun. Thou didst show to the sun thy shame and to the moon thy madness.”

  And the Man made answer and said, “Even so did I.”

  And a third time God opened the Book of the Life of the Man.

  And God said to the Man, “Evil hath been thy life, and with evil didst thou requite good, and with wrongdoing kindness. The hands that fed thee thou didst wound, and the breasts that gave thee suck thou didst despise. He who came to thee with water went away thirsting, and the outlawed men who hid thee in their tents at night thou didst betray before dawn. Thine enemy who spared thee thou didst snare in an ambush, and the friend who walked with thee thou didst sell for a price, and to those who brought thee Love thou didst ever give Lust in thy turn.”

  And the Man made answer and said, “Even so did I.”

  And God closed the Book of the Life of the Man, and said, “Surely I will send thee into Hell. Even into Hell will I send thee.”