Something thoughtfully apprehensive in the large, soft eyes, had checked Little Dorrit in an instant.

'You don't know that you are a favourite of my husband's, and that I am almost bound to be jealous of you?' said Mrs Gowan.

Little Dorrit, blushing, shook her head.

'He will tell you, if he tells you what he tells me, that you are quieter and quicker of resource than any one he ever saw.'

'He speaks far too well of me,' said Little Dorrit.

'I doubt that; but I don't at all doubt that I must tell him you are here. I should never be forgiven, if I were to let you--and Miss Dorrit--go, without doing so. May I? You can excuse the disorder and discomfort of a painter's studio?'

The inquiries were addressed to Miss Fanny, who graciously replied that she would be beyond anything interested and enchanted. Mrs Gowan went to a door, looked in beyond it, and came back. 'Do Henry the favour to come in,' said she, 'I knew he would be pleased!'

The first object that confronted Little Dorrit, entering first, was Blandois of Paris in a great cloak and a furtive slouched hat, standing on a throne platform in a corner, as he had stood on the Great Saint Bernard, when the warning arms seemed to be all pointing up at him. She recoiled from this figure, as it smiled at her.

'Don't be alarmed,' said Gowan, coming from his easel behind the door. 'It's only Blandois. He is doing duty as a model to-day. I am making a study of him. It saves me money to turn him to some use. We poor painters have none to spare.'

Blandois of Paris pulled off his slouched hat, and saluted the ladies without coming out of his corner.

'A thousand pardons!' said he. 'But the Professore here is so inexorable with me, that I am afraid to stir.'

'Don't stir, then,' said Gowan coolly, as the sisters approached the easel. 'Let the ladies at least see the original of the daub, that they may know what it's meant for. There he stands, you see. A bravo waiting for his prey, a distinguished noble waiting to save his country, the common enemy waiting to do somebody a bad turn, an angelic messenger waiting to do somebody a good turn--whatever you think he looks most like!' 'Say, Professore Mio, a poor gentleman waiting to do homage to elegance and beauty,' remarked Blandois.

'Or say, Cattivo Soggetto Mio,' returned Gowan, touching the painted face with his brush in the part where the real face had moved, 'a murderer after the fact. Show that white hand of yours, Blandois. Put it outside the cloak. Keep it still.'

Blandois' hand was unsteady; but he laughed, and that would naturally shake it.

'He was formerly in some scuffle with another murderer, or with a victim, you observe,' said Gowan, putting in the markings of the hand with a quick, impatient, unskilful touch, 'and these are the tokens of it. Outside the cloak, man!--Corpo di San Marco, what are you thinking of?'

Blandois of Paris shook with a laugh again, so that his hand shook more; now he raised it to twist his moustache, which had a damp appearance; and now he stood in the required position, with a little new swagger.

His face was so directed in reference to the spot where Little Dorrit stood by the easel, that throughout he looked at her.