Cyril Waring looked at her in considerable surprise. He caught
the creature in his hands as he spoke, and transferred it at once
to a tin box, with a perforated lid, that lay beside him. "Go
back, Sardanapalus," he said, in a very musical and pleasant voice,
forcing the huge beast into the lair with gentle but masterful
hands. "Go back, and go to sleep, sir. It's time for your nap. ...
Oh no, I couldn't think of letting him out any more in the carriage
to the annoyance of others. I'm ashamed enough as it is of having
unintentionally alarmed you. But you came in so unexpectedly, you
see, I hadn't time to put my queer pet away; and, when the door
opened, I was afraid he might slip out, or get under the seats, so
all I could do was just to soothe him with my hand, and keep him
quiet till the door was shut to again."

"Indeed, I wasn't at all afraid of him," Elma answered, slipping
her change into her pocket, and looking prettier through her blush
than even her usual self. "On the contrary, I really liked to see
him. He's such a glorious snake! The lights and shades on his back
are so glancing and so wonderful! He's a perfect model. Of course,
you're painting him."

The stranger started. "I'm painting him--yes, that's true,"
he replied, with a look of sudden surprise; "but why 'of course,'
please? How on earth could you tell I was an artist even?"

Elma glanced back in his face, and wondered to herself, too.
Now she came to think of it, HOW did she know that handsome young
man, with the charming features, and the expressive eyes, and the
neatly-cut brown beard, and the attractive manner, was an artist