Mildred soon began to perceive and to understand the intimate life of the galleries, a strange life full of its special idiosyncrasies. There were titled ladies who came with their maids and commanded respect from the keeper of the gallery, and there was a lady with bright yellow hair who occasioned him much anxiety. For she allowed visitors not only to enter into conversation with her, but if they pleased her fancy she would walk about the galleries with them and take them out to lunch. There was an old man who copied Hogarth, he was madly in love with a young woman who copied Rossetti. But she was in love with an academy student who patronised all the girls and spent his time in correcting their drawings. A little further away was another old man who copied Turner. By a special permission he came at eight o'clock, two hours before the galleries were open. It was said that with a tree from one picture, a foreground from another, a piece of distance from a third, a sky from a fourth, he had made a picture which had taken in the Academicians, and had been hung in Burlington House as an original work by Crome. Most of his work was done before the students entered the galleries; he did very little after ten o'clock; he pottered round from easel to easel chattering; but he never imparted the least of his secrets. He knew how to evade questions, and after ten minutes' cross-examination he would say 'Good morning,' and leave the student no wiser than he was before. A legend was in circulation that to imitate Turner's rough surfaces he covered his canvas with plaster of Paris and glazed upon it.

The little life of the galleries was alive with story. Walter was a fair young man with abundant hair and conversation. Elsie hung about his easel. He covered a canvas with erratic blots of colour and quaint signs, but his plausive eloquence carried him through, and Elsie thought more highly of his talents than he did of hers. They were garrulous one as the other, and it was pleasant to see them strolling about the galleries criticising and admiring, until Elsie said:

'Now, Walter, I must get back to my work, and don't you think it would be better if you went on with yours?'

So far as Mildred could see, Elsie's life seemed from the beginning to have been made up of painting and young men. She was fond of Walter, but she wasn't sure that she did not like Henry best, and later, others—a Jim, a Hubert, and a Charles—knocked at her studio door, and they were all admitted, and they wasted Elsie's time and drank her tea. Very often they addressed their attentions to Mildred, but she said she could not encourage them, they were all fast, and she said she did not like fast men.

'I never knew a girl like you; you're not like other girls. Did you never like a man? I never really. I once thought you liked Ralph.'

'Yes, I do like him. But he's different from these men; he doesn't make love to me. I like him to like me, but I don't think I should like him if he made love to me.'

'You're an odd girl; I don't believe there's another like you.'

'I can't think how you can like all these men to make love to you.'

'They don't all make love to me,' Elsie answered quickly. 'I hope you don't think there's anything wrong. It is merely Platonic.'

'I should hope so. But they waste a great deal of your time.'

'Yes, that's the worst of it. I like men, men are my life, I don't mind admitting it. But I know they've interfered with my painting. That's the worst of it.'

Then the conversation turned on Cissy Clive. 'Cissy is a funny girl,' Elsie said. 'For nine months out of every twelve she leads a highly- respectable life in West Kensington. But every now and then the fit takes her, and she tells her mother, who believes every word she says, that she's staying with me. In reality, she takes rooms in Clarges Street, and has a high old time.'

'I once heard her whispering to you something about not giving her away if you should happen to meet her mother.'

'I remember, about Hopwood Blunt. He had just returned from Monte
Carlo.'

'But I suppose it is all right. She likes talking to him.'

'I don't think she can find much to talk about to Hopwood Blunt,' said
Elsie, laughing. 'Haven't you seen him? He is often in the galleries.'

'What does she say?'

'She says he's a great baby—that he amuses her.'

Next day, Mildred went to visit Cissy in the unfrequented gallery where her 'Bather' would not give scandal to the visitors. She had nearly completed her copy; it was excellent, and Mildred could not praise it sufficiently. Then the girls spoke of Elsie and Walter. Mildred said:

'She seems very fond of him.'

'And of how many others? Elsie never could be true to a man. It was just the same in the Academy schools. And that studio of hers? Have you been to any of her tea-parties? They turn down the lights, don't they?'

As Mildred was about to answer, Cissy said, 'Oh, here's Freddy.'

Mr. Hopwood Blunt was tall and fair, a brawny young Englishman still, though the champagne of fashionable restaurants and racecourses was beginning to show itself in a slight puffiness in his handsome florid cheeks. He shook hands carelessly with Miss Clive, whom he called Cis, and declared himself dead beat. She hastened to hand him her chair.

'I know what's the matter with you,' she said, 'too much champagne last night at the Cafe Royal.'

'Wrong again. We weren't at the Cafe Royal, we dined at the Bristol.
Don't like the place; give me the good old Cafe Savoy.'

'How many bottles?'

'Don't know; know that I didn't drink my share. It was something I had after.'

Then followed an account of the company and the dinner. The conversation was carried on in allusions, and Mildred heard something about Tommy's girl and a horse that was worth backing at Kempton. At last it occurred to Cissy to introduce Mildred. Mr. Hopwood Blunt made a faint pretence of rising from his chair, and the conversation turned on the 'Bather.'

'I think you ought to make her a little better looking. What do you say, Miss Lawson? Cis is painting that picture for a smoking-room, and in the smoking-room we like pretty girls.'

He thought that they ought to see a little more of the lady's face; and he did not approve of the drapery. Cissy argued that she could not alter Etty's composition; she reproved him for his facetiousness, and was visibly annoyed at the glances he bestowed on Mildred. A moment after Ralph appeared.

'Don't let me disturb you,' he said, 'I did not know where you were, Miss Lawson, that was all. I thought you might like me to see how you're getting on.'

Ralph and Mildred walked through two galleries in silence. Elsie had gone out to lunch with Walter; the old lady with the grey ringlets, who copied Gainsborough's 'Watering Place,' was downstairs having a cup of coffee and a roll; the cripple leaned on his crutch, and compared his drawing of Mrs. Siddons's nose with Gainsborough's. Ralph waited till he hopped away, and Mildred was grateful to him for the delay; she did not care for her neighbours to see what work her master did on her picture.

'You've got the background wrong,' he said, taking off a yellowish grey with the knife. 'The cloud in the left-hand corner is the deepest dark you have in the picture,' and he prepared a tone. 'What a lovely quality Reynolds has got into the sky! … This face is not sufficiently foreshortened. Too long from the nose to the chin,' he said, taking off an eighth of an inch. Then the mouth had to be raised. Mildred watched, nervous with apprehension lest Elsie or the old lady or the cripple should return and interrupt him.

'There, it is better now,' he said, surveying the picture, his head on one side.

'I should think it was,' she answered enthusiastically. 'I shall be
able to get on now. I could not get the drawing of that face right.
And the sky—what a difference! I like it as well as the original.
It's quite as good.'

Ralph laughed, and they walked through the galleries. The question, of course, arose, which was the greater, the Turner or the Claude?

Mildred thought that she liked the Claude.

'One is romance, the other is common sense.'

'If the Turner is romance, I wonder I don't prefer it to the Claude. I love romance.'

'School-girl romance, very likely.' Mildred didn't answer and, without noticing her, Ralph continued, 'I like Turner best in the grey and English manner: that picture, for instance, on the other side of the doorway. How much simpler, how much more original, how much more beautiful. That grey and yellow sky, the delicacy of the purple in the clouds. But even in classical landscape Turner did better than Claude —Turner created—all that architecture is dreamed; Claude copied his.'

At the end of each little sentence he stared at Mildred, half ashamed at having expressed himself so badly, half surprised at having expressed himself so well. Anxious to draw him out, she said:

'But the picture you admire is merely a strip of sea with some fishing-boats. I've seen it a hundred times before—at Brighton, at Westgate, at whatever seaside place we go to, just like that, only not quite so dark.'

'Yes, just like that, only not quite so dark. That "not quite so dark" makes the difference. Turner didn't copy, he transposed what he saw. Transposed what he saw,' he repeated. 'I don't explain myself very well, I don't know if you understand. But what I mean is that the more realistic you are the better; so long as you transpose, there must always be a transposition of tones.'

Mildred admitted that she did not quite understand. Ralph stammered, and relinquished the attempt to explain. They walked in silence until they came to the Rembrandts—the portrait of the painter as a young man and the portrait of the 'Jew Merchant.' Mildred preferred the portrait of the young man. 'But not because it's a young man,' she pleaded, 'but because it is, it is—-'

'Compared with the "Jew Merchant" it is like a coloured photograph… Look at him, he rises up grand and mysterious as a pyramid, the other is as insignificant as life. Look at the Jew's face, it is done with one tint; a synthesis, a dark red, and the face is as it were made out of nothing—hardly anything, and yet everything is said… You can't say where the picture begins or ends, the Jew surges out of the darkness like a vision. Look at his robe, a few folds, that is all, and yet he's completely dressed, and his hand, how large, how great… Don't you see, don't you understand?'

'I think I do,' Mildred replied a little wistfully, and she cast a last look on the young man whom she must admire no more. Ralph opened the door marked students only, and they went down the stone steps. When they came to where the men and women separated for their different rooms, Mildred asked Ralph if he were going out to lunch? He hesitated, and then answered that it took too long to go to a restaurant. Mildred guessed by his manner that he had no money.

'There's no place in the gallery where we can get lunch—you women are luckier than us men. What do they give you in your room?'

'You mean in the way of meat? Cold meat, beef and ham, pork pies. But
I don't care for meat, I never touch it.'

'What do you eat?'

'There are some nice cakes. I'll go and get some; we'll share them.'

'No, no, I really am not hungry, much obliged.'

'Oh, do let me go and get some cakes, it'll be such fun, and so much nicer than sitting with a lot of women in that little room.'

They shared their cakes, walking up and down the great stone passages, and this was the beginning of their intimacy. On the following week she wrote to say what train she was coming up by; he met her at the station, and they went together to the National Gallery. But their way led through St. James' Park; they lingered there, and, as the season advanced, their lingerings in the park grew longer and longer.

'What a pretty park this is. It always seems to me like a lady's boudoir, or what I imagine a lady's boudoir must be like.'

'Have you never seen a lady's boudoir?'

'No; I don't think I have. I've never been in what you call society. I had to make my living ever since I was sixteen. My father was a small tradesman in Brixton. When I was sixteen I had to make my own living. I used to draw in the illustrated papers. I began by making two pounds a week. Then, as I got on, I used to live as much as possible in the country. You can't paint landscapes in London.'

'You must have had a hard time.'

'I suppose I had. It was all right as long as I kept to my newspaper work. But I was ambitious, and wanted to paint in oils; but I never had a hundred pounds in front of me. I could only get away for a fortnight or a month at a time. Then, as things got better, I had to help my family. My father died, and I had to look after my mother.'

Mildred raised her eyes and looked at him affectionately.

'I think I could have done something if I had had a fair chance.'

'Done something? But you have done something. Have you forgotten what the Spectator said of your farmyard?'

'That's nothing. If I hadn't to think of getting my living I could do better than that. Oil painting is the easiest material of all until you come to a certain point; after that point, when you begin to think of quality and transparency, it is most difficult.'

They were standing on the bridge. The water below them was full of ducks. The birds balanced themselves like little boats on the waves, and Mildred thought of her five hundred a year and the pleasure it would be to help Ralph to paint the pictures he wanted to paint. She imagined him a great artist; his success would be her doing. At that same moment he was thinking that there never had been any pleasure in his life; and Mildred—her hat, her expensive dress, her sunshade— seemed in such bitter contrast to himself, to his own life, that he could not hide a natural irritation.

'Your life has been all pleasure,' he said, glancing at her disdainfully.

'No, indeed, it has not. My life has been miserable enough. We are rich, it is true, but our riches have never brought me happiness. The best time I've had has been since I met you.'

'Is that true? I wonder if that's true.'

Their eyes met and she said hastily, with seeming desire to change the subject:

'So you're a Londoner born and bred, and yet you'd like to live in the country.'

'Only for my painting. I love London, but you can't paint landscapes in London.'

'I wonder why not. You said you loved this park. There's nothing more beautiful in the country—those trees, this quiet, misty lake; it is exquisite, and yet I suppose it wouldn't make a picture.'

'I don't know. I've often thought of trying to do something with it. But what's beautiful to look at doesn't do well in a picture. The hills and dales in the Green Park are perfect—their artificiality is their beauty. There's one bit that I like especially.'

'Which is that?'

'The bit by Buckingham Palace where the sheep feed; the trees there are beautiful, large spreading trees, and they give the place a false air of Arcady. But in a picture it wouldn't do.'

'Why?'

'I can't say. I don't think it would mean much if it were painted.'

'You couldn't have a shepherd, or if you had he'd have to be cross- gartered, and his lady-love in flowery silk would have to be sitting on a bank, and there is not a bank there, you'd have to invent one.'

'That's it; the park is eighteenth century, a comedy of the restoration.'

'But why couldn't you paint that?' said Mildred, pointing to where a beautiful building passed across the vista.

'I suppose one ought to be able to. The turrets in the distance are fine. But no, it wouldn't make a picture. The landscape painter never will be able to do much with London. He'll have to live in the country, and if he can't afford to do that he'd better turn it up.'

'Elsie Laurence and Cissy Clive are going to France soon. They say that's the only place to study. In the summer they're going to a place called Barbizon, near Fontainebleau. I was thinking of going with them.'

'Were you? I wish I were going. Especially to Barbizon. The country would suit me.'

Mildred longed to say, 'I shall be glad if you'll let me lend you the money,' but she didn't dare. At the end of a long silence, Ralph said:

'I think we'd better be going on. It must be nearly ten.'