"You—you are too busy. I'm afraid you don't receive pupils at your own studio," she said, timidly.
"No, I do not receive pupils as a rule; but I will receive you, signorina."
That was the end of lessons at the Cooper Institute, and the beginning of the brief, but best, happiness Valeria's life was to know.
Some indiscreet allusion to the change in a letter Valeria or her brother had written to their mother brought Mrs. Gano in hot haste to New York again. She found Valeria a different being—but she also found Signor Conti and a lonely studio in a side street, where her daughter worked alone with this foreigner, modelling "the members of the human body," while the sculptor worked on his "Lady at the Bath." It was all unspeakably objectionable and un-American. This was no fit milieu for a Gano. It wasn't a seemly place for any lady. Valeria must come home. She told her so the same night. No, Valeria could not do that.
"Why? Are you so attached, then, to this Italian image-maker?"
Valeria went home to the West the next day. The following winter she died.
Little Val was nearly seven when she woke up one morning and was told that the baby had died in the night. Then it was true, this thing she had heard about people dying. Her excitement and curiosity were infinitely greater than her sorrow. Had he gone to heaven yet? No, he was in the cold, uninhabited "best" room, where nobody but strangers—guests and grandmothers—had ever slept. She made Nanna hurry through the bath and dressing. The nurse was crying. Val observed her critically.
"Isn't heaven a nice place?" the child asked; and a vague uneasiness seized her with regard to this much-vaunted reward of merit.
"Av coorse, av coorse—the most beautiful place ye can think av. The streets are all gowld," said the woman, with quivering face.