Summary

Phyllis Bottome The Derelict (Bottome, Century Magazine… (1917)

Emily was quite sure that Geoffrey's work had improved; she liked his pictures better herself. A certain queerness in them had evaporated lately, something which made them unlike the pictures of anybody else; and, besides, he had had the great incentive of her love. She smiled reassuringly upon Marcel Dupin. It is a mistake to imagine that Frenchmen flatter upon a question of fact; it is only in the region of fancy that they allow themselves to evade the rigor of perfect accuracy.
Marcel's light eyes fixed themselves with a certain hardness upon Emily's vague, gray ones.
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Phyllis Bottome The Derelict (Bottome, Century Magazine… (1917)

Geoffrey has been doing what does not inspire him. That is always possible, it is sometimes a necessity; but to make a rule of it is bad. None of these canvases bear the look of people; they are casts. Oh, but I make a mistake,"—he drew Fanny out with a certain flourish,—"this one is alive. For her Geoffrey has had an idea. He has not said to himself: 'I am a young man who wants very much to be married. Therefore I will earn twenty-five pounds.'"
Emily's benevolent eyes turned suddenly hostile. She disliked Marcel Dupin thoroughly.
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Phyllis Bottome The Derelict (Bottome, Century Magazine… (1917)

Marcel looked gloomily across the studio at him.
"But where is it," he demanded, "this line of your own? What you have here, my poor friend, is n't a line at all; it's an abyss. You should have sent mademoiselle's amiable friends to the photographer. There are such good ones now, too. They should be allowed to take a little something off our shoulders."
Then Marcel unearthed Fanny. He gave a long, low whistle as he drew the sketch out into the light. It was Fanny, just as she had sat in the old cloak and the battered, scarlet straw hat, digging her toes into the carpet.
Source: Wikisource

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