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"A free woman by God!" he said once more, swinging round to where Miss Van Tuyn was standing between Jennings and Thapoulos. "I'll paint her again. I'll make a masterpiece of her." "I'm sure you will. But now walk with me to the Hyde Park Hotel. It's on your way to Chelsea." "She doesn't care whether I paint her or not. Cora doesn't care. Art means nothing to her.

Thapoulos muttered comments in modern Greek. And the Turkish refugee from Smyrna quoted again and again the words of praise from Pierre Loti, which had made of him a moral wreck, a nuisance to all who came into contact with him, a mere prancing megalomaniac. Miss Van Tuyn did not join in the carnival of praises and condemnations. She had suddenly recovered her mental balance.

"Dick Garstin will be there," said Ambrose Jennings in a frail voice, "Enid Blunt, a Turkish refugee from Smyrna who writes quite decent verse, Thapoulos, Penitence Murray, who is just out of prison, and Smith the sculptor, with his mistress, a round-faced little Russian girl. She's the dearest little Bolshevik I know."

But as time went on, despite the sallies of Dick Garstin, the bloodless cynicisms of Enid Blunt, who counted insolence as the chief of the virtues, the amorous sentimentalities of the Turkish refugee from Smyrna, whose moral ruin had been brought about by a few lines of praise from Pierre Loti, the touching appreciations of prison life by Penitence Murray, and the voluble intellectuality of Thapoulos, Jennings and Smith the sculptor, Miss Van Tuyn began to feel absent-minded.

Thapoulos, a Levantine, who had once been a courier in Athens, but who was now a rich banker with a taste for Bohemia, kept one thin yellow hand on her shoulder as he appeared to listen, with her, to the sonnet.