He crossed an undulating park, and had no difficulty in tracing an almost disused path in certain grass-grown furrows leading past the group of cedars. On reaching this point he obtained a fair view of the mansion; but the sun was directly behind him, as the house faced southeast, and he decided to encroach some few yards on private property. A brier-laden slope fell from the other side of the trees to a delightful-looking lake fed by a tiny cascade on the east side. An ideal spot, he thought.

This, then, was the stage setting: Trenholme, screened by black cedars and luxuriant brushwood, was seated about fifty feet above the level of the lake and some forty yards from its nearest sedges. The lake itself, largely artificial, lay at the foot of the waterfall, which gurgled and splashed down a miniature precipice of moss-covered bowlders. Here and there a rock, a copper beech, a silver larch, or a few flowering shrubs cast strong shadows on the dark, pellucid mirror beneath. On a cunningly contrived promontory of brown rock stood a white marble statue of Venus Aphrodite, and the ripples from the cascade seemed to endow with life the shimmering reflection of the goddess.

Beyond the lake a smooth lawn, dotted with fine old oaks and chestnuts, rose gently for a quarter of a mile to the Italian gardens in front of the house. To the left, the park was bounded by woods. To the right was another wood, partly concealing a series of ravines and disused quarries. Altogether a charming setting for an Elizabethan manor, pastoral, peaceful, quite English, and seeming on that placid June morning so remote from the crowded mart that it was hard to believe the nearest milestone, with its "London, 30 miles."

Had Trenholme glanced at his watch he would have discovered that the hour was now half past seven, or nearly an hour later than he had planned. But Art, which is long-lived, recks little of Time, an evanescent thing. He was enthusiastic over his subject. He would make not one sketch, but two. That lake, like the gates, was worthy of immortality. Of course, the house must come first. He unpacked a canvas hold-all, and soon was busy.

He worked with the speed and assured confidence of a master. By years of patient industry he had wrested from Nature the secrets of her tints and tone values. Quickly there grew into being an exquisitely bright and well balanced drawing, impressionist, but true; a harmony of color and atmosphere. Leaving subtleties to the quiet thought of the studio, he turned to the lake. Here the lights and shadows were bolder. They demanded the accurate appraisement of the half closed eye. He was so absorbed in his task that he was blithely unconscious of the approach of a girl from the house, and his first glimpse of her was forthcoming when she crossed the last spread of velvet sward which separated a cluster of rhododendrons in the middle distance from the farther edge of the lake.

It was not altogether surprising that he had not seen her earlier. She wore a green coat and skirt and a most curiously shaped hat of the same hue, so that her colors blended with the landscape. Moreover, she was walking rapidly, and had covered the intervening quarter of a mile in four minutes or less.

He thought at first that she was heading straight for his lofty perch, and was perhaps bent on questioning his right to be there at all. But he was promptly undeceived. Her mind was set on one object, and her eyes did not travel beyond it. She no more suspected that an artist was lurking in the shade of the cedars than she did that the man in the moon was gazing blandly at her above their close-packed foliage. She came on with rapid, graceful strides, stood for a moment by the side of the Venus, and then, while Trenholme literally gasped for breath, shed coat, skirt and shoes, revealing a slim form clad in a dark blue bathing costume, and dived into the lake.

Trenholme had never felt more surprised. The change of costume was so unexpected, the girl's complete ignorance of his presence so obvious, that he regarded himself as a confessed intruder, somewhat akin to Peeping Tom of Coventry. He was utterly at a loss how to act. If he stood up and essayed a hurried retreat, the girl might be frightened, and would unquestionably be annoyed. It was impossible to creep away unseen. He was well below the crest of the slope crowned by the trees, and the nymph now disporting in the lake could hardly fail to discover him, no matter how deftly he crouched and twisted.

At this crisis, the artistic instinct triumphed. He became aware that the one element lacking hitherto, the element that lent magic to the beauty of the lake and its vivid environment of color, was the touch of life brought by the swimmer. He caught the flash of her limbs as they moved rhythmically through the dark, clear water, and it seemed almost as if the gods had striven to be kind in sending this naiad to complete a perfect setting. With stealthy hands he drew forth a small canvas. Oil, not mild water color, was the fitting medium to portray this Eden. Shrinking back under cover of a leafy brier, he began a third sketch in which the dominant note was the contrast between the living woman and the marble Venus.

For fifteen minutes the girl disported herself like a dolphin. Evidently she was a practiced swimmer, and had at her command all the resources of the art. At last she climbed out, and stood dripping on the sun-laved rock beside the statue. Trenholme had foreseen this attitude – had, in fact, painted with feverish energy in anticipation of it. The comparison was too striking to be missed by an artist. Were it not for the tightly clinging garments, the pair would have provided a charming representation of Galatea in stone and Galatea after Pygmalion's frenzy had warmed her into life.

Trenholme was absolutely deaf now to any consideration save that of artistic endeavor. With a swift accuracy that was nearly marvelous he put on the canvas the sheen of faultless limbs and slender neck. He even secured the spun-gold glint of hair tightly coifed under a bathing cap – a species of head-dress which had puzzled him at the first glance – and there was more than a suggestion of a veritable portrait of the regular, lively and delicately beautiful features which belonged to a type differing in every essential from the cold, classic loveliness of the statue, yet vastly more appealing in its sheer femininity.

Then the spell was broken. The girl slipped on her shoes, dressed herself in a few seconds, and was hurrying back to the house, almost before Trenholme dared to breathe normally.

"Well," he muttered, watching the swaying of the green skirt as its owner traversed the park, "this is something like an adventure! By Jove, I've been lucky this morning! I've got my picture for next year's Salon!"

He had got far more, if only he were gifted to peer into the future; but that is a privilege denied to men, even to artists. Soon, when he was calmer, and the embryo sketch had assumed its requisite color notes for subsequent elaboration, he smiled a trifle dubiously.

"If that girl's temperament is as attractive as her looks I'd throw over the Salon for the sake of meeting her," he mused. "But that's frankly impossible, I suppose. At the best, she would not forgive me if she knew I had watched her in this thievish way. I could never explain it, never! She wouldn't even listen. Well, it's better to have dreamed and lost than never to have dreamed at all."

And yet he dreamed. His eyes followed the fair unknown while she entered the garden through a gateway of dense yews, and sped lightly up the steps of a terrace adorned with other statues in marble and bronze. No doorway broke the pleasing uniformity of the south front, but she disappeared through an open window, swinging herself lightly over the low sill. He went with her in imagination. Now she was crossing a pretty drawing-room, now running upstairs to her room, now dressing, possibly in white muslin, which, if Trenholme had the choosing of it, would be powdered with tiny fleurs de lys, now arranging her hair with keen eye for effect, and now tripping down again in obedience to a gong summoning the household to breakfast.

He sighed.

"If I had the luck of a decent French poodle, this plutocrat Fenley would eke have invited me to lunch," he grumbled.

Then his eyes sought the sketch, and he forgot the girl in her counterfeit. By Jove, this would be a picture! "The Water Nymphs." But he must change the composition a little – losing none of its character; only altering its accessories to such an extent that none would recognize the exact setting.

"Luck!" he chortled, with mercurial rise of spirits. "I'm the luckiest dog in England today. Happy chance has beaten all the tricks of the studio. O ye goddesses, inspire me to heights worthy of you!"

His visions were rudely dispelled by a gunshot, sharp, insistent, a tocsin of death in that sylvan solitude. A host of rooks arose from some tall elms near the house; a couple of cock pheasants flew with startled chuckling out of the wood on the right; the white tails of rabbits previously unseen revealed their owners' whereabouts as they scampered to cover. But Trenholme was sportsman enough to realize that the weapon fired was a rifle; no toy, but of high velocity, and he wondered how any one dared risk its dangerous use in such a locality. He fixed the sound definitely as coming from the wood to the right – the cover quitted so hurriedly by the pheasants – and instinctively his glance turned to the house, in the half formed thought that some one there might hear the shot, and look out.

The ground floor window by which the girl had entered still remained open, but now another window, the most easterly one on the first floor, had been raised slightly. The light was peculiarly strong and the air so clear that even at the distance he fancied he could distinguish some one gesticulating, or so it seemed, behind the glass. This went on for a minute or more. Then the window was closed. At the same time he noticed a sparkling of glass and brasswork behind the clipped yew hedge which extended beyond the east wing. After some puzzling, he made out that a motor car was waiting there.

That was all. The clamor of the rooks soon subsided. A couple of rabbits skipped from the bushes to resume an interrupted meal on tender grass shoots. A robin trilled a roundelay from some neighboring branch. Trenholme looked at his watch. Half past nine! Why, he must have been mooning there a good half hour!

He gathered his traps, and as the result of seeing the automobile, which had not moved yet, determined to forego his earlier project of walking out of the park by the Easton gate.

He had just emerged from the trees when a gruff voice hailed him.

"Hi!" it cried. "Who're you, an' what are you doin' here!"

A man, carrying a shotgun and accompanied by a dog, strode up with determined air.

Trenholme explained civilly, since the keeper was clearly within his rights. Moreover, the stranger was so patently a gentleman that Velveteens adopted a less imperative tone.

"Did you hear a shot fired somewhere?" he asked.

"Yes. Among those trees." And Trenholme pointed. "It was a rifle, too," he added, with an eye at the twelve-bore.

"So I thought," agreed the keeper.

"Rather risky, isn't it, firing bullets in a place like this?"

"I just want to find out who the ijiot is that did it. Excuse me, sir, I must be off." And man and dog hurried away.

And Trenholme, not knowing that death had answered the shot, took his own departure, singing as he walked, his thoughts altogether on life, and more especially on life as revealed by the limbs of a girl gleaming in the dark waters of a pool.