Each was so absorbed in the other that the Louvre might have been empty. Certainly, neither of them noticed that a man crossing the Pont du Carrousel in an open cab seemed to be vastly surprised when he saw them hastening through the side entrance. He carried his interest to the point of stopping the cab and following them. Young, clear skinned, black-haired, exceedingly well dressed, with the eyes and eyelashes of an Italian tenor, he moved with an air of distinction, and showed that he was no stranger to the Louvre by his rapid decision that the Salle des Moulages, with its forbidding plaster casts, was no likely resting place for Delgrado and his pretty companion.
Making straight for the nearest stairs, he almost blundered upon Alec, laden with Joan's easel and canvas; but this exquisite, having something of the spy's skill, whisked into an alcove, scrutinized an old print, and did not emerge until the chance of being recognized had passed. After that, he was safe. He appeared to be amused, even somewhat amazed, when he learned why Delgrado was patronizing the arts. Yet the discovery was evidently pleasing. He caressed a neat, black mustache with a well-manicured hand, while taking note of Joan's lithe figure and well poised head. The long, straight vista of the gallery did not permit of a near view, and he could not linger in the narrow doorway, used chiefly by artists and officials, whence he watched them for a minute or more.
So he turned on his heel and descended to the street and his waiting victoria, waving that delicate hand and smiling with the manner of one who said, "Fancy that of Alec! The young scamp!"
Joan was copying Caravaggio's "The Fortune Teller," a masterpiece that speaks in every tongue, to every age. Its keynote is simplicity. A gallant of Milan, clothed in buff-colored doublet slashed with brown velvet, a plumed cavalier hat set rakishly on his head, and a lace ruffle caught up with a string of seed pearls round his neck, is holding out his right palm to a Gypsy woman, while the fingers of his left hand rest on a swordhilt. The woman is young and pretty, her subject a mere boy, and her smug aspect of divination is happily contrasted with the youth's excitement at hearing what fate has in store.
"There!" cried Joan. "What do you think of it?"
She had almost completed the Gypsy, and there was already a suggestion of the high lights in the youngster's face and his brightly colored garb.
"I like your copy more than the original," said Delgrado.
"Your visits to Rudin have not taught you much about art, then," said she tartly.
"Not even that great master would wish me to be insincere."
"No, indeed; but he demands knowledge at the back of truth. Now, mark me! You see that speck of white fire in the corner of the woman's eye? It gives life, intelligence, subtle character. Just a little blob of paint, put there two hundred years ago, yet it conveys the whole stock in trade of the fortune teller. Countless numbers of men and women have gazed at that picture, a multitude that must have covered the whole range of human virtues and vices; but it has never failed to carry the same message to every beholder. Do you think that my poor reproduction will achieve that?"
"You have chosen the only good bit in the painting," he declared stoutly. "Look at the boy's lips. Caravaggio must have modeled them from a girl's. What business has a fellow with pouting red lips like them to wear a sword on his thigh?"
Joan laughed with joyousness that was good to hear.
"Pooh! Run away and smite that ball with a long stick!" she said.
"Hum! More than the Italian could have done."
He was ridiculously in earnest. Joan colored suddenly and busied herself with tubes of paint. She believed he was jealous of the handsome Lombard. She began to mix some pigments on the palette. Delgrado, already regretting an inexplicable outburst, turned from the picture and looked at Murillo's "woman clothed with the sun, and the moon under her feet, and upon her head a diadem of twelve stars."
"Now, please help me to appreciate that and you will find me a willing student," he murmured.
But Joan had recovered her self-possession. "Suppose we come off the high art ladder and talk of our uninteresting selves," she said. "What of the mystery you hinted at on the Quai? Why shouldn't I call you Mr. Delgrado? One cannot always say 'Alec,' it's too short."
Then he reddened with confusion. "Delgrado is my name, right enough," he said. "It is the prefix I object to. It implies that I am sailing under false colors, and I don't like that."
"I am not good at riddles, and I suspect prefix," she cried.
"Ah, well, I suppose I must get through with it. Have you forgotten how Rudin introduced me?"
She knitted her brows for a moment. Pretty women should cultivate the trick, unless they fear wrinkles. It gives them the semblance of looking in on themselves, and the habit is commendable. "Rudin is fond of his little joke," she announced at last.
"But—what did he say?"
"Oh, there was some absurdity. He addressed me as if I were a royal personage, and asked to be allowed to present his Serene Highness Prince Alexis Delgrado."
The man smiled constrainedly. "It sounds rather nonsensical, doesn't it?" he said.
"Rudin often invents titles. I have heard efforts much more amusing."
"That is when he is original. Unfortunately, in my case, he was merely accurate."
Joan whirled round on him. "Are you a Prince?" she gasped, each word marking a crescendo of wonder.
"Yes—Joan."
"But what am I to do? What am I to say? Must I drop on one knee and kiss your hand?"
"I cannot help it," he growled. "And I was obliged to tell you. You would have been angry with me if I had kept it hidden from you. Oh, dash it all, Joan, don't laugh! That is irritating."
"My poor Alec! Why did they make you a Prince?"
"I was born that way. My father is one. Do you mean to say you have lived in Paris a year and have never seen our names in the newspapers? My people gad about everywhere. The Prince and Princess Michael Delgrado, you know."
"I do not know," said Joan deliberately.
Her alert brain was slowly assimilating this truly astonishing discovery. She did not attempt to shirk its significance, and her first thought was to frame some excuse to abandon work for the day; since, no matter what the cost to herself, this friendship must go no farther. The decision caused a twinge; but she did not flinch, for Joan would always visit the dentist rather than endure toothache. She could not dismiss a Serene Highness merely because he declared his identity, nor was she minded to forget his rank because she had begun to call him Alec. But it hurt. She was conscious of a longing to be alone. If not in love, she was near it, and hard-working artists must not love Serene Highnesses.
Delgrado was watching her with a glowering anxiety that itself carried a warning. "You see, Joan, I had to tell you," he repeated. "People make such a fuss about these empty honors——"
Joan caught at a straw. She hoped that a display of sarcastic humor might rescue her. "Honors!" she broke in, and she laughed almost shrilly, for her voice was naturally sweet and harmonious. "Is it an honor, then, to be born a Prince?"
"If a man is worth his salt, the fact that he is regarded as a Prince should make him princely."
"That is well said. Try and live up to it. You will find it a task, though, to regulate your life by copybook maxims."
"The princedom is worth nothing otherwise. In its way, it is a handicap. Most young fellows of my age have some sort of career before them, while I—I really am what you said I was, an idler. I didn't like the taunt from your lips; but it was true. Well, I am going to change all that. I am tired of posturing as one of Daudet's 'Kings in Exile.' We expelled potentates all live in Paris; that is the