"I’m no soldier," he told Mark. "I went up for my exam because you fired me. I want to make money—a big pile." Mark said nothing, but he thought of Betty Kirtling, now eighteen, and still abroad. Jim had mentioned (with a flushed cheek) that Betty was coming out at the Westchester Hunt Ball, always held in New Year’s week, and Mark had said that he would assist at that and other festivities.
When Christmas came Mark crossed the Channel. He brought Pynsent with him as a guest. Mark was now twenty-two, but he looked older. You must imagine a long, thin, sallow face, illumined by two splendid blue eyes and a wide mouth filled with white even teeth. The hair was dark brown, and the eyebrows were arched, like the eyebrows of the poet Shelley. His nose was too long—so Pynsent said—and the chin was too prominent, the eyes set too far apart, the brow too wide. For the rest the figure was tall and slight, with finely shaped extremities. Curiously enough, although ninety-nine out of a hundred persons would have pronounced Mark an ugly man; yet, dressed in petticoats, judiciously painted and bewigged, he made a captivating woman. At a dance in one of the studios, he impersonated an American heiress with so much spirit and appreciation of the attention he received, that before the night was out he had promised to become the wife of an impoverished French count: a prank provoking a challenge, which Mark accepted and which doubtless would have ended in a duel, had not Pynsent explained to the victim of the joke that if Mark was killed, the slayer of so popular a person would have to fight his friends, man by man, till not one Englishman or American was left alive in Saphir’s studio. "It is the woman in Mark’s face," said Pynsent, "which gives it charm and quality; but the man, strong and ardent, looks out of his eyes."
Mark did not meet Betty till the night of the Hunt Ball. He was standing beside Archie and Pynsent, as she entered the room.
"Great Scott—here’s Beatrice Cenci!" said Pynsent.
The artist was thinking of the fascinating portrait which hangs in the Barberini Palace, not of the wooden counterfeit presentment so familiar to buyers of cheap chromo-lithographs.
"As if it could be anybody else," Mark added.