David had written with so much pleasure of this, that Diana, realising he had no portrait of her, and knowing how her heart yearned for one of him, went up to town, and was photographed especially for him.
When the portrait arrived, and her own face looked out at her from the silver wrappings, she was startled by its expression. It was not a look she ever saw in her mirror. The depth of tenderness in the eyes, the soft wistfulness of the mouth, were a revelation of her own heart to Diana. She had been thinking of her husband, when the camera unexpectedly opened its eye upon her. The clever artist had sacrificed minor details of arrangement, in order to take her unawares before a photographic expression closed the gates upon the luminous beauty of her soul.
Diana hurried the picture back into its wrappings. It had been taken for David. To David it must go; and go immediately, if it were to go at all. If it did not go at once to David, it would go into the fire.
It went to David.
With it went a letter.
"My dear David,—I am much amused that you should have come across a picture of me in an illustrated paper. I did not see it myself; but I gather from your description, that it must have been taken as I was leaving the Town Hall after the function of which I told you in September. Fancy you being able to recognise the motor and the men. I remember having to stand for a minute at the top of the long flight of steps, while some of the members of the committee, who had organised the bazaar, made their adieus. I always hate all the hand-shaking on these occasions. I suppose you would enjoy it, David. To you, each hand would mean an interesting personality behind it. I am afraid to me it only means something unpleasantly hot, and unnecessarily literal in the meaning it gives to 'hand-shake.' Don't you know a certain style of story which says, in crucial moments between the hero and the heroine: 'He wrung her hand and left her?' They always wring your hand—a most painful process—when you open bazaars, but they don't leave you! You are constrained at last to flee to your motor.
"'The fellow in the topper'"—Diana paused here to refer to David's letter, then continued writing, a little smile of amusement curving the corners of her mouth,—"The 'good-looking fellow in the topper' who was being 'so very attentive' to me, and 'apparently enjoying himself on the steps,' is our Member. His wife, a charming woman, is a great friend of mine. She should appear just behind us. The mayoress had presented me with the bouquet he was holding for me. I foisted it upon the poor man because, personally, I hate carrying bouquets. I daresay it had the effect in the snapshot of making him look 'a festive chap.' But he was not enjoying himself, any more than I was. We had both just shaken hands with the Mayor!
"It seems so funny to think that a reproduction of this scene should have found its way to you in Central Africa; and I am much gratified that you considered it worth framing, and hanging up in your hut.
"I am glad you thought me looking so like myself. I don't think I am much given to looking like other people! Unlike a little lady in this neighbourhood who is never herself, but always some one else, and not the same person for many weeks together. It is one of our mild amusements to wonder who she will be next. She had a phase of being me once, with a bunch of artificial violets on her muff!
"But, to return to the picture. It has occurred to me that, as you were so pleased with it, you might like a better. It is not right, my dear David, that the only likeness you possess of your wife, should be a snapshot in a penny paper. So, by this mail, I send a proper photograph, taken the other day on purpose for you. Are you not flattered, sir?"