'Then we must be moving on. I ought to be at work at half-past. One can't work more than a couple of hours in this light.'

They pa.s.sed out of the wood and crossed an open s.p.a.ce where rough gra.s.s grew in patches. Mildred opened her parasol.

'You asked me just now if I ever went to England. Do you intend to go back, or do you intend to live in France?'

'That's my difficulty. So long as I was painting there was a reason for my remaining in France, now that I've given it up---'

'But you've not given it up.'

'Yes, I have. If I don't find something else to do I suppose I must go back. That's what I dread. We live in Sutton. But that conveys no idea to your mind. Sutton is a little town in Surrey. It was very nice once, but now it is little better than a London suburb. My brother is a distiller. He goes to town every day by the ten minutes past nine and he returns by the six o'clock. I've heard of nothing but those two trains all my life. We have ten acres of ground--gardens, greenhouses, and a number of servants. Then there's the cart--I go out for drives in the cart. We have tennis parties--the neighbours, you know, and I shall have to choose whether I shall look after my brother's house, or marry and look after my husband's.'

'It must be very lonely in Sutton.'

'Yes, it is very lonely. There are a number of people about, but I've no friends that I care about. There's Mrs. Fargus.'

'Who's Mrs. Fargus?'

'Oh, you should see Mrs. Fargus, she reads Comte, and has worn the same dinner dress ever since I knew her--a black satin with a crimson scarf. Her husband suffers from asthma, and speaks of his wife as a very clever woman. He wears an eyegla.s.s and she wears spectacles. Does that give you an idea of my friends?'

'I should think it did. What d.a.m.ned bores they must be.'

'He bores me, she doesn't. I owe a good deal to Mrs. Fargus. If it hadn't been for her I shouldn't be here now.'

'What do you mean?'

They again pa.s.sed out of the sunlight into the green shade of some beech trees. Mildred closed her parasol, and swaying it to and fro amid the ferns she continued in a low laughing voice her tale of Mrs.

Fargus and the influence that this lady had exercised upon her. Her words floated along a current of quiet humour cadenced by the gentle swaying of her parasol, and brought into relief by a certain intentness of manner which was peculiar to her. And gradually Morton became more and more conscious of her, the charm of her voice stole upon him, and once he lingered, allowing her to get a few yards in front so that he might notice the quiet figure, a little demure, and intensely itself, in a yellow gown. When he first saw her she had seemed to him a little sedate, even a little dowdy, and when she had spoken of her intention to abandon painting, although her manner was far from cheerless, he had feared a bore. He now perceived that this she at least was not--moreover, her determination to paint no more announced, an excellent sense of the realities of things in which the other women--the Elsies and the Cissys--seemed to him to be strangely deficient. And when he set up his easel her appreciation of his work helped him to further appreciation of her. He had spread the rug for her in a shady place, but for the present she preferred to stand behind him, her parasol slanted slightly, talking, he thought very well, of the art of the great men who had made Barbizon rememberable.

And the light tone of banter in which she now admitted her failure seemed to Morton to be just the tone which she should adopt, and her ridicule of the impressionists and, above all, of the dottists amused him.

'I don't know why they come here at all,' he said, 'unless it be to prove to themselves that nature falls far short of their pictures. I wonder why they come here? They could paint their gummy tapestry stuff anywhere.'

'I can imagine your asking them what they thought of Corot. Their faces would a.s.sume a puzzled expression, I can see them scratching their heads reflectively; at last one of them would say:

'"Yes, there is _Chose_ who lives behind the Odeon--he admires Corot.

_Pas de blague_, he really does." Then all the others in chorus: "he really does admire Corot; we'll bring him to see you next Tuesday."'

Morton laughed loudly, Mildred laughed quietly, and there was an intense intimacy of enjoyment in her laughter.

'I can see them,' she said, 'bringing _Chose, le pet.i.t Chose_, who lives behind the Odeon and admires Corot, to see you, bringing him, you know, as a sort of strange survival, a curious relic. It really is very funny.'

He was sorry when she said the sun was getting too hot for her, and she went and lay on the rug he had spread for her in the shade of the oak. She had brought a book to read, but she only read a line here and there. Her thoughts followed the white clouds for a while, and then she admired the man sitting easily on his camp-stool, his long legs wide apart. His small head, his big hat, the line of his bent back amused and interested her; she liked his abrupt speech, and wondered if she could love him. A couple of peasant women came by, bent under the weight of the f.a.ggots they had picked, and Mildred could see that Morton was watching the movement of these women, and she thought how well they would come into the picture he was painting.

Soon after he rose from his easel and walked towards her.

'Have you finished?' she said. 'No, not quite, but the light has changed. I cannot go on any more to-day. One can't work in the sunlight above an hour and a half.'

'You've been working longer than that.'

'But haven't touched the effect. I've been painting in some figures-- two peasant women picking sticks, come and look.'

XVI.

Three days after Morton finished his picture. Mildred had been with him most of the time. And now lunch was over, and they lay on the rug under the oak tree talking eagerly.

'Corot never married,' Morton remarked, as he shaded his eyes with his hand, and asked himself if any paint appeared in his sky. There was a corner on the left that troubled him. 'He doesn't seem to have ever cared for any woman. They say he never had a mistress.'

'I hear that you have not followed his example.'

'Not more than I could help.'

His childish candour amused her so that she laughed outright, and she watched the stolid childish stare that she liked, until a longing to take him in her arms and kiss him came upon her. Her voice softened, and she asked him if he had ever been in love?

'Yes, I think I was.'

'How long did it last?'

'About five years.'

'And then?'

'A lot of rot about scruples of conscience. I said, I give you a week to think it over, and if I don't hear from you in that time I'm off to Italy.'

'Did she write?'

'Not until I had left Paris. Then she spent five-and-twenty pounds in telegrams trying to get me back.'

'But you wouldn't go back.'

'Not I; with me, when an affair of that sort is over, it is really over. Don't you think I'm right?'

'Perhaps so.... But I'm afraid we've learnt love in different schools.'

'Then the sooner you relearn it in my school the better.'

At that moment a light breeze came up the sandy path, carrying some dust on to the picture. Morton stamped and swore. For three minutes it was d.a.m.n, d.a.m.n, d.a.m.n.

'Do you always swear like that in the presence of ladies?'

'What's a fellow to do when a blasted wind comes up smothering his picture in sand?'

Mildred could only laugh at him; and, while he packed up his canvases, paint-box, and easel, she thought about him. She thought that she understood him, and fancied that she would be able to manage him. And convinced of her power she said aloud, as they plunged into the forest:

'I always think it is a pity that it is considered vulgar to walk arm in arm. I like to take an arm.... I suppose we can do what we like in the forest of Fontainebleau. But you're too heavily laden--'

'No, not a bit. I should like it.'