His uncle now stood up, but swayed a little, and winced from sudden pain.
A wave of malice crossed his face.

"It's a pity we are relatives, with France so near," he said, "for I see
you love fighting." After an instant he added, with a carelessness as
much assumed as natural: "You may ring the bell, and tell Falby to come
to my room. And because I am to appear at the flare-up to-night--all in
honour of the prodigal's son--this matter is between us, and we meet as
loving relatives. You understand my motives, Gaston Robert Belward?"

"Thoroughly."

Gaston rang the bell, and went to open the door for his uncle to pass
out. Ian Belward buttoned his close-fitting coat, cast a glance in the
mirror, and then eyed Gaston's fine figure and well-cut clothes. In the
presence of his nephew, there grew the envy of a man who knew that youth
was passing while every hot instinct and passion remained. For his age
he was impossibly young. Well past fifty he looked thirty-five, no more.
His luxurious soul loathed the approach of age. Unlike many men of
indulgent natures, he loved youth for the sake of his art, and he had
sacrificed upon that altar more than most men-sacrificed others. His
cruelty was not as that of the roughs of Seven Dials or Belleville, but
it was pitiless. He admitted to those who asked him why and wherefore
when his selfishness became brutality, that everything had to give way
for his work. His painting of Ariadne represented the misery of two
women's lives. And of such was his kingdom of Art.

As he now looked at Gaston he was again struck with the resemblance to
the portrait in the dining-room, with his foreign out-of-the-way air:
something that should be seen beneath the flowing wigs of the Stuart