ell spent (since his wife
thought otherwise), and half to explain this uncanny reality of life
that lay in the fine old cedar framed above his study table.

Yet in the general view the mind of Mr. Bittacy was held to be austere,
not to say morose. Few divined in him the secretly tenacious love of
nature that had been fostered by years spent in the forests and jungles
of the eastern world. It was odd for an Englishman, due possibly to that
Eurasian ancestor. Surreptitiously, as though half ashamed of it, he had
kept alive a sense of beauty that hardly belonged to his type, and was
unusual for its vitality. Trees, in particular, nourished it. He, also,
understood trees, felt a subtle sense of communion with them, born
perhaps of those years he had lived in caring for them, guarding,
protecting, nursing, years of solitude among their great shadowy
presences. He kept it largely to himself, of course, because he knew the
world he lived in. HE also kept it from his wife--to some extent. He
knew it came between them, knew that she feared it, was opposed. But
what he did not know, or realize at any rate, was the extent to which
she grasped the power which they wielded over his life. Her fear, he
judged, was simply due to those years in India, when for weeks at a time
his calling took him away from her into the jungle forests, while she
remained at home dreading all manner of evils that might befall him.
This, of course, explained her instinctive opposition to the passion for
woods that still influenced and clung to him. It was a natural survival
of those anxious days of waiting in solitude for his safe return.

For Mrs. Bittacy, daughter of an evangelical clergy-man, was a
self-sacrificing woman, who in most things found a happy duty in sharing
her husband's joys and sorrows to the point of self-obliteration. Only
in this matter of the trees she was less successful than in others. It
remained a problem difficult of compromise.

He knew, for instance, that what she objected to in this portrait of the
cedar on their lawn was really not the price he had given for it, but
the unpleasant way in which the transaction emphasized this breach
between their common interests--the only one they had, but deep.

Sanderson, the artist, earned little enough money by his strange talent;
such checks were few and far between. The owners of fine or interesting
trees who cared to have them painted singly were rare indeed, and the
"studies" that