never again inspire the same feelings that it did while in the workshop.
Viewed from afar, and serving as an ornament, no regard would be had to
the care bestowed upon details. But the artist's great satisfaction in
his work is in having pleased himself; and yet no one can accurately
determine how, or to what extent, a conscientious working up of details
will influence the general effect.

While the master was speaking, the King was announced. Irma hurriedly
spread a damp cloth over her clay model.

The King entered. He was unattended, and begged Irma not to allow
herself to be disturbed in her work. Without looking up, she went on
with her modeling. The King was earnest in his praise of the
master's work.

"The grandeur that dwells in this figure will show posterity what our
days have beheld. I am proud of such contemporaries."

Irma felt that the words applied to her as well. Her heart throbbed. The
plaster which stood before her suddenly seemed to gaze at her with a
strange expression.

"I should like to compare the finished work with the first models," said
the king to the artist.

"I regret that the experimental models are in my small atelier. Does
your Majesty wish me to have them brought here?"

"If you will be good enough to do so."