entered the _pension_ and inquired the rates. Old Lenz took one
glance at the knickerbockers, and at once asked twice as much as he
would have charged a native. Standish agreed to the terms with that
financial recklessness characteristic of his island, and the old man
regretted he had not asked a third more.

"But never mind," he said to himself as the newly arrived guest
disappeared to his room, "I shall make it up on the extras."

With deep regret it must be here admitted that young Standish was an
artist. Artists are met with so often in fiction that it is a matter of
genuine grief to have to deal with one in a narrative of fact, but it
must be remembered that artists flock as naturally to the lake of Como
as stock-brokers to the Exchange, and in setting down an actual
statement of occurrences in that locality the unfortunate writer finds
himself confronted with artists at every turn. Standish was an artist
in water-colours, but whether that is a mitigation or an aggravation of
the original offense the relater knoweth not. He speedily took to
painting Tina amidst various combinations of lake and mountain scenery.
Tina over the garden wall as he first saw her; Tina under an arch of
roses; Tina in one of the clumsy but picturesque lake boats. He did his
work very well, too. Old Landlord Lenz had the utmost contempt for this
occupation, as a practical man should, but he was astonished one day
when a passing traveller offered an incredible sum for one of the
pictures that stood on the hall table. Standish was not to be found,
but the old man, quite willing to do his guest a good turn, sold the
picture. The young man, instead of being overjoyed at his luck, told
the landlord, with the calm cheek of an artist, that he would overlook
the matter this time, but it must not occur again. He had sold the
picture, added Standish, for about one-third its real value. There was