"Them things in the drawer," he muttered sepulchrally, in a voice not intended to reach the ears of the rather awe-inspiring personage on the hearthrug. Gillian whipped round contritely. "Danny, I forgot them!" she apologised, and tweaking a black curl went to a bureau and produced a square cardboard box. Danny tucked it under his arm with murmured thanks and a duck of the head, and crossing the room noiselessly went out, closing the door behind him softly. Craven came slowly to her. She moved to give him place before the easel. Craven looked at the small alert brown face, the odd black eyes dancing with almost unearthly merriment, the red lips curving upward to an enigmatical smile, and his wonder and admiration grew.
"Who is he?" he asked curiously, puzzled by a likeness he seemed to recognise dimly and yet was unable to place.
"Danny Major--the son of one of your gamekeepers," said Gillian; "his mother has gipsy blood in her."
Craven whistled. "I remember," he said, interested. "Old Major was head-keeper. Young Major lost his heart to a gipsy lass and his father kicked him out of doors. Peters, as usual, smoothed things over and kept the fellow on at his job, in spite of a great deal of opposition--he had seen the girl and formed his own opinion. I asked once or twice and he said that it had turned out satisfactorily. So this is the son--he's a rum-looking little beggar."
Gillian was cleaning brushes at the side table. "He's the terror of the neighbourhood," she said smiling, "but for some reason he is a perfect angel when he comes here. It isn't the chocolates," she added hastily as she saw a fleeting smile on his face, "he just likes coming. And he tells me the most wonderful things about the woods and the wood beasties."
"He would," said Craven significantly, "it's in the blood. What's this?" he asked, pointing to a smaller board propped face inward against the big canvas. For a moment she did not answer and the colour flamed into her face again. She put the brushes away, and wiping her fingers on a cloth, lifted the board and gave it into his hands.
"It's Danny as I see him," she said in an odd voice. And, looking at it, Craven realised that the cleverness of the painted head on the large canvas paled to mediocrity beside the brilliance of the sepia sketch he held. It was the same head--but marvellously different--set on the body of a faun. The dancing limbs were pulsing with life, the tiny hoofs stamping the flower-strewn earth in an ecstasy of movement; the head was thrown forward, bent as though to catch a distant echo, and among the tossing curls showed two small curving horns; to the enigmatical smile of the original had been added a subtle touch of mockery, and the wide eyes held a look of mystical knowledge that was uncanny. Craven held it silently, it seemed an incredible piece of work for the girl to have conceived. And, beside him, she waited nervously for his verdict, with close-locked twitching fingers. He had never come before, had never shown any interest in the work that meant so much to her. She was hungry for his praise, fearful of his censure. If he saw nothing in it now but the immature efforts of an amateur! Her heart tightened. She drew a little nearer to him, her eyes fixed apprehensively on his intent face, her breath coming quickly. At length he replaced the sketch carefully. "You have a wonderful talent," he said slowly. A little gasp of relief escaped her and her lips trembled in spite of all efforts to keep them steady. "You like it?" she whispered eagerly, and was terrified at the awful pallor that overspread his face. For a moment he could not speak. The words, the intonation! He was back again in Japan, looking at the painting of a lonely fir tree clinging to a jutting sea-washed cliff--the faintest scent of oriental perfume seemed stealing through the air. He drew his hand across his eyes.