better; and if I were rich I should certainly employ the best models
in London; but, being poor, I have taught myself to do without them. An
occasional model would only disturb my ideal conception of the figure,
and be a positive impediment in my career. As for painting by an
artificial light,' he would continue, 'that is simply a knack I have
found it necessary to acquire, my days being engrossed in the work of
tuition.'

At the moment when we must present him to our readers, Pitman was in his
studio alone, by the dying light of the October day. He sat (sure enough
with 'unaffected simplicity') in a Windsor chair, his low-crowned black
felt hat by his side; a dark, weak, harmless, pathetic little man, clad
in the hue of mourning, his coat longer than is usual with the laity,
his neck enclosed in a collar without a parting, his neckcloth pale in
hue and simply tied; the whole outward man, except for a pointed beard,
tentatively clerical. There was a thinning on the top of Pitman's head,
there were silver hairs at Pitman's temple. Poor gentleman, he was no
longer young; and years, and poverty, and humble ambition thwarted, make
a cheerless lot.

In front of him, in the corner by the door, there stood a portly barrel;
and let him turn them where he might, it was always to the barrel that
his eyes and his thoughts returned.

'Should I open it? Should I return it? Should I communicate with Mr
Sernitopolis at once?' he wondered. 'No,' he concluded finally, 'nothing
without Mr Finsbury's advice.' And he arose and produced a shabby
leathern desk. It opened without the formality of unlocking, and
displayed the thick cream-coloured notepaper on which Mr Pitman was
in the habit of communicating with the proprietors of schools and the