THE MODEL
The morning broke clear and still across the scented bush, and Miss Kinnaird and Ida Stirling, who had been awakened early by the wonderful freshness in the mountain air, strolled some distance out of camp. For a time they wandered through shadowy aisles between the tremendous trunks, breathing in sweet resinous odors, and then, soon after the first sunrays came slanting across a mountain shoulder, they came out upon a head of rock above the river. A hemlock had fallen athwart it, and they sat down where they could look out upon a majestic panorama of towering rock and snow.
Arabella Kinnaird gazed at it intently when she had shaken some of the dew from the frills and folds of her rather bedraggled skirt.
“It will never be quite the same again,” she observed, evidently in reference to the latter, and then waved one hand as though to indicate the panorama, for she was usually voluble and disconnected in her conversation. “This, as I said last night, is wonderful—in fact, it almost oppresses one. It makes one feel so little, and I’m not sure that I like that, though no doubt it does one good.”
Her companion smiled.
“Aren’t you going to paint it?” she asked.
Miss Kinnaird pursed up her face, which was a trick she had.
“Oh,” she said, “I don’t know. After all, portraiture is my specialty, and this silent grandeur is a little beyond my interpretation.”
She paused, and added the next few words in an authoritative manner, as though she had a truth of some consequence to deliver:
“The difficulty is that you really can’t interpret anything until you are quite sure what it means. You see, I’m feverishly restless by temperament, and accustomed to indulge in all kinds of petty, purposeless activities. They are petty, though the major calls them duties—social duties—and being, I’m afraid, a rather frivolous person in spite of my love of art, they appeal to me.”