Elfride had as her own the thoughtfulness which appears in the
face of the Madonna della Sedia, without its rapture: the warmth
and spirit of the type of woman's feature most common to the
beauties--mortal and immortal--of Rubens, without their insistent
fleshiness. The characteristic expression of the female faces of
Correggio--that of the yearning human thoughts that lie too deep
for tears--was hers sometimes, but seldom under ordinary
conditions.

The point in Elfride Swancourt's life at which a deeper current
may be said to have permanently set in, was one winter afternoon
when she found herself standing, in the character of hostess, face
to face with a man she had never seen before--moreover, looking at
him with a Miranda-like curiosity and interest that she had never
yet bestowed on a mortal.

On this particular day her father, the vicar of a parish on the
sea-swept outskirts of Lower Wessex, and a widower, was suffering
from an attack of gout. After finishing her household
supervisions Elfride became restless, and several times left the
room, ascended the staircase, and knocked at her father's chamber-
door.

'Come in!' was always answered in a hearty out-of-door voice from
the inside.

'Papa,' she said on one occasion to the fine, red-faced, handsome
man of forty, who, puffing and fizzing like a bursting bottle, lay
on the bed wrapped in a dressing-gown, and every now and then