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 damn, damn, damn.

'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.'

She took his arm and walked by his side with a sweet caressing movement, and they talked eagerly until they reached the motive of his second picture.

'What I've got on the canvas isn't very much like the view in front of you, is it?'

'No, not much, I don't like it as well as the other picture.'

'I began it late one evening. I've never been able to get the same effect again. Now it looks like a Puvis de Chavannes—not my picture, but that hillside, that large space of blue sky and the wood-cutters.'

'It does a little. Are you going on with it?'

'Why?'

'Because there is no shade for me to sit in. I shall be roasted if we remain here.'

'What shall we do? Lie down in some shady place?'

'We might do that…. I know what I should like.'

'What?'

'A long drive in the forest.'

'A capital idea. We can do that. We shall meet some one going to
Barbizon. We'll ask them to send us a fly.'

Their way lay through a pine wood where the heat was stifling; the dry trees were like firewood scorched and ready to break into flame; and their steps dragged through the loose sand. And, when they had passed this wood, they came to a place where the trees had all been felled, and a green undergrowth of pines, two or three feet high, had sprung up. It was difficult to force their way through; the prickly branches were disagreeable to touch, and underneath the ground was spongy, with layers of fallen needles hardly covered with coarse grass.

Morton missed the way, and his paint-box and canvases had begun to weigh heavy when they came upon the road they were seeking. But where they came upon it, there was only a little burnt grass, and Morton proposed that they should toil on until they came to a pleasanter place.

The road ascended along the verge of a steep hill, at the top of which they met a bicyclist who promised to deliver Morton's note. There was an opening in the trees, and below them the dark green forest waved for miles. It was pleasant to rest—they were tired. The forest murmured like a shell. They could distinguish here and there a tree, and their thoughts went to that tree. But, absorbed though they were by this vast nature, each was thinking intensely of the other. Mildred knew she was near the moment when Morton would take her hand and tell her that he loved her. She wondered what he would say. She did not think he would say he loved her, he would say: 'You're a damned pretty woman.' She could see he was thinking of something, and suspected him of thinking out a phrase or an oath appropriate to the occasion. She was nearly right. Morton was thinking how he should act. Mildred was not the common Barbizon art student whose one idea is to become the mistress of a painter so that she may learn to paint. She had encouraged him, but she had kept her little dignity. Moreover, he did not feel sure of her. So the minutes went by in awkward expectancy, and Morton had not kissed her before the carriage arrived.

She lay back in the fly smiling, Morton thought, superciliously. It seemed to him stupid to put his arm round her waist and try to kiss her. But, sooner or later, he would have to do this. Once this Rubicon was passed he would know where he was…. As he debated, the tall trunks rose branchless for thirty or forty feet; and Mildred said that they were like plumed lances.

'So they are,' he said, 'like plumed lances. And how beautifully that beech bends, what an exquisite curve, like a lance bent in the shock of the encounter.'

The underwood seemed to promise endless peace, happy life amid leaves and birds; and Mildred thought of a duel under the tall trees. She saw two men fighting to the death for her. A romantic story begun in a ball-room, she was not quite certain how. Morton remembered a drawing of fauns and nymphs. But there was hardly cover for a nymph to hide her whiteness. The ground was too open, the faun would soon overtake her. She could better elude his pursuit in the opposite wood. There the long branches of the beeches swept the heads of the ferns, and, in mysterious hollows, ferns made mysterious shade, places where nymphs and fauns might make noonday festival.

'What are you thinking of?' said Mildred.

'Of fauns and nymphs,' he answered. 'These woods seem to breathe antiquity.'

'But you never paint antiquity.'

'I try to. Millet got its spirit. Do you know the peasant girl who has taken off her clothes to bathe in a forest pool, her sheep wandering through the wood? By God! I should like you to see that picture.'

At the corner of the carrefour, the serpent catcher showed them two vipers in a low flat box. They darted their forked tongues against the wire netting, and the large green snake, which he took out of a bag, curled round his arm, seeking to escape. In questioning him they learnt that the snakes were on their way to the laboratory of a vivisectionist. This dissipated the mystery which they had suggested, and the carriage drove in silence down the long forest road.

'We might have bought those snakes from him, and set them at liberty.'

'We might have, but we didn't.'

'Why didn't we?'

'What would be the good? … If we had, he would have caught others.'

'I suppose so. But I don't like the idea of that beautiful snake, which you compared to me, being vivisected.'

The forest now extended like a great temple, hushed in the beautiful ritual of the sunset. The light that suffused the green leaves overhead glossed the brown leaves underfoot, marking the smooth grosund as with a pattern. And, like chapels, every dell seemed in the tranquil light, and leading from them a labyrinthine architecture without design or end. Mildred's eyes wandered from the colonnades to the underwoods. She thought of the forest as of a great green prison; and then her soul fled to the scraps of blue that appeared through the thick leafage, and she longed for large spaces of sky, for a view of a plain, for a pine-plumed hill-top. Once more she admired, once more she wearied of the forest aisles, and was about to suggest returning to Barbizon when Morton said:

'We are nearly there now; I'm going to show you our lake.'

'A lake! Is there a lake?'

'Yes, there's a lake—not a very large one, it is true, but still a lake—on the top of a hill where you can see the forest. Under a sunset sky the view is magnificent.'

The carriage was to wait for them, and, a little excited by the adventure, Mildred followed Morton through rocks and furze bushes. When it was possible she took his arm, and once accidentally, or nearly accidentally, she sprang from a rock into his arms. She was surprised that he did not take advantage of the occasion to kiss her.

'Standing on this flat rock we're like figures in a landscape, by
Wilson,' Mildred said.

'So we are,' said Morton, who was struck by the truth of the comparison. 'But there is too much colour in the scene for Wilson—he would have reduced it all to a beautiful blue, with only a yellow flush to tell where the sun had gone.'

'It would be very nice if you would make me a sketch of the lake. I'll lend you a lead pencil, the back of an envelope will do.'

'I've a water-colour box in my pocket and a block. Sit down there and
I'll do you a sketch.'

'And, while you are accomplishing a work of genius, I'll supply the levity, and don't you think I'm just the person to supply the necessary leaven of lightness? Look at my frock and my sunshade.'

Morton laughed, the conversation paused, and the water-colour progressed. Suddenly Mildred said:

'What did you think of me the first time you saw me? What impression did I produce on you?'

'Do you want me to tell you, to tell you exactly?'

'Yes, indeed I do.'

'I don't think I can.'

'What was it?' Mildred asked in a low affectionate tone, and she leaned towards him in an intimate affectionate way.

'Well—you struck me as being a little dowdy.'

'Dowdy! I had a nice new frock on. I don't think I could have looked dowdy, and among the dreadful old rags that the girls wear here.'

'It had nothing to do with the clothes you wore. It was a little quiet, sedate air.'

'I wasn't in good spirits when I came down here.'

'No, you weren't. I thought you might be a bore.'

'But I haven't been that, have I?'

'No, I'm damned if you're that.'

'But what a charming sketch you're making. You take that ordinary common grey from the palette, and it becomes beautiful. If I were to take the very same tint, and put it on the paper, it would be mud.'

Morton placed his sketch against a rock, and surveyed it from a little distance. 'I don't call it bad, do you? I think I've got the sensation of the lonely lake. But the effect changes so rapidly. Those clouds are quite different from what they were just now. I never saw a finer sky, it is wonderful. It is splendid as a battle'…

'Write underneath it, "That night the sky was like a battle."'

'No, it would do for my sketch.'

'You think the suggestion would overpower the reality…. But it is a charming sketch. It will remind me of a charming day, of a very happy day.'

She raised her eyes. The moment had come.

He threw one arm round her, and raised her face with the other hand. She gave her lips easily, with a naturalness that surprised and deceived him. He might marry her, or she might be his mistress, he didn't know which, but he was quite sure that he liked her better than any woman he had seen for a long time. He had not known her a week, and she already absorbed his thoughts. And, during the drive home, he hardly saw the forest. Once a birch, whose faint leaves and branches dissolved in a glittering light, drew his thoughts away from Mildred. She lay upon his shoulder, his arm was affectionately around her, and, looking at him out of eyes whose brown seemed to soften in affection, she said:

'Elsie said you'd get round me.'

'What did she mean?'

'Well,' said Mildred, nestling a little closer, and laughing low, 'haven't you got round me?'

Her playfulness enchanted her lover, and, when she discreetly sought his hand, he felt that he understood her account of Alfred's brutality. But her tenderness, in speaking of Ralph, quickened his jealousy.

'My violets lay under his hand, he must have died thinking of me.'

'But the woman who wrote to you, his mistress, she must have known all about his love for you. What did she say?'

'She said very little. She was very nice to me. She could see that I was a good woman….'

'But that made no difference so far as she was concerned. You took her lover away from her.'

'She knew that I hadn't done anything wrong, that we were merely friends.'

The conversation paused a moment, then Morton said: 'It seems to have been a mysterious kind of death. What did he die of?'

'Ah, no one ever knew. The doctors could make nothing of his case. He had been complaining a long time. They spoke of overwork, but—'

'But, what?'

'I believe he died of slow poisoning.'

'Slow poisoning! Who could have poisoned him?'

'Ellen Gibbs.'

'What an awful thing to say…. I suppose you have some reason for suspecting her?'

'His death was very mysterious. The doctors could not account for it. There ought to have been a post-mortem examination.' Feeling that this was not sufficient reason, and remembering suddenly that Ralph held socialistic theories and was a member of a sect of socialists, she said: 'Ralph was a member of a secret society…. He was an anarchist—no one suspected it, but he told me everything, and it was I who persuaded him to leave the Brotherhood.'

'I do not see what that has to do with his death by slow poisoning.'

'Those who retire from these societies usually die.'

'But why Ellen Gibbs?'

'She was a member of the same society, it was she who got him to join.
When he resigned it was her duty to—'

'Kill him! What a terrible story. I wonder if you're right.'

'I know I am right.'

At the end of a long silence, Morton said:

'I wonder if you like me as much as you liked Ralph.'

'It is very different. He was very good to me.'

'And do you think that I shall not be good to you?'

'Yes, I think you will,' she said looking up and taking the hand which pressed against her waist.

'You say he was a very clever artist. Do you like his work better than mine?'

'It was as different as you yourselves are.'

'I wonder if I should like it?'

'He would have liked that,' and she pointed with her parasol towards an oak glade, golden hearted and hushed.

'A sort of Diaz, then?'

'No, not the least like that. No, it wasn't the Rousseau palette.'

'That's a regular Diaz motive. It would be difficult to treat it differently.'

The carriage rolled through a tender summer twilight, through a whispering forest.