She stood there a moment longer--long enough to
let him see that she was a person of easy attitudes--and then she walked
away slowly to the parapet of the terrace. Here she stationed herself,
leaning her arms upon the high stone ledge, presenting her back to
Longueville, and gazing at rural Italy. Longueville went on with his
sketch, but less attentively than before. He wondered what this young
lady was doing there alone, and then it occurred to him that her
companion--her mother, presumably--was in the church. The two ladies had
been in the church when he arrived; women liked to sit in churches; they
had been there more than half an hour, and the mother had not enough of
it even yet. The young lady, however, at present preferred the view that
Longueville was painting; he became aware that she had placed herself in
the very centre of his foreground. His first feeling was that she would
spoil it; his second was that she would improve it. Little by little she
turned more into profile, leaning only one arm upon the parapet, while
the other hand, holding her folded parasol, hung down at her side. She
was motionless; it was almost as if she were standing there on purpose
to be drawn. Yes, certainly she improved the picture.
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