She walked round the studio, eyeing the model.

‘It’s pretty good from everywhere,’ she said. ‘Right! Get going, everybody.’ She glanced at her watch. ‘You can hold that for forty minutes, Sonia.’

‘It’s a terrible pose, Miss Troy,’ grumbled Sonia. ‘All twisted like this.’

‘Nonsense,’ said Troy briskly.

The class began to settle itself.

Since each member of Troy’s little community played a part in the tragedy that followed ten days later, it may be well to look a little more closely at them.

Katti Bostock’s work is known to everyone who is at all interested in modern painting. At the time of which I am writing she was painting very solidly and smoothly, using a heavy outline and a simplified method of dealing with form. She painted large figure compositions, usually with artisans as subjects. Her ‘Foreman Fitter’ had been the picture of the year at the Royal Academy, and had set all the diehards by the ears. Katti herself was a short, stocky, darkhaired individual with an air of having no nonsense about her. She was devoted to Troy in a grumbling sort of way, lived at Tatler’s End House most of the year, but was not actually a member of the class.

Valmai Seacliff was thin, blonde, and very, very pretty. She was the type that certain modern novelists write about with an enthusiasm which they attempt to disguise as satirical detachment. Her parents were well-to-do and her work was clever. You have heard Katti describe Valmai as a nymphomaniac and will be able to draw your own conclusions about the justness of this criticism.

Phillida Lee was 18, plump, and naturally gushing. Two years of Slade austerity had not altogether damped her enthusiasms, but when she remembered to shudder, she shuddered.

Watt Hatchett, Troy’s Australian protégé, was a short and extremely swarthy youth, who looked like a dago in an American talking picture. He came from one of the less reputable streets of Sydney and was astoundingly simple, cocksure, egotistical and enthusiastic. He seemed to have no aesthetic perceptions of any description, so that his undoubted talent appeared to be a sort of parasite, flowering astonishingly on an unpromising and stunted stump.

Cedric Malmsley we have noticed already. Nothing further need be said about him at this stage of the narrative.

The Hon. Basil Pilgrim, son of the incredible Primitive Methodist peer, was a pleasant-looking young man of 23, whose work was sincere, able, but still rather tentative. His father, regarding all art schools as hot-beds of vice and depravity, had only consented to Basil becoming a pupil of Troy’s because her parents had been landed gentry of Lord Pilgrim’s acquaintance, and because Troy herself had once painted a picture of a revivalist meeting. Her somewhat ironical treatment of this subject had not struck Lord Pilgrim, who was, in many ways, a remarkably stupid old man.