lcome, made him
feel at home, gave him tea. It was his first visit, but no one was ever
shy long with Bertha. He soon began chattering very volubly in a sort of
English, which, if not exactly broken, was decidedly cracked.

"I like those things of yours--at the gallery, I mean," said Nigel
patronisingly. He was always patronising to all artists, even when he
didn't know them, as in this case, to be cranks. "I think they're
top-hole; simply _awfully_ good, I thought. I didn't quite understand
them, though, I admit."

"But you saw ze idea?"

"What idea?"

"Why, the simultaneity of the plastic states of mind in the art? That is
our intoxicating object, you know."

"Oh, that! Ah, yes--yes, quite so. I thought it was that." Nigel looked
knowing, and shook his head wisely.

Under this treatment the young Italian became very animated.

"You were right! You see, it is ze expansion of coloured forms in space,
combined with the co-penetration of plastic masses which forms what we
call futurism."

"Oh yes, of course," said Nigel. "It would be. I mean to
say--well!--almost anyone would guess that, wouldn't they?"

Semolini turned to Bertha, talking more and more quickly, and
gesticulating with a little piece of bread and butter in his right hand.
"It is ze entire liberation from the laws of logical perspective that
makes movement--the Orphic cubism--if you will allow me to say so!"

"Oh, certainly," smiled Bertha. "_Do_ say so!"

"Orphic cubism! I say! Isn't that a bit strong before a lady?" murmured
Nigel.

Semolini laughed heartily without understanding a word, and continued to
address himself to Bertha, whose eyes looked sympathetic. "It is
painting, pure painting--painting new masses with elements borrowed
chiefly from the reality of mental vision!" cried the artist.

"Funny! Just what I was going to say!" said Nigel.

Bertha contented herself with encouraging smiles.

The young Italian was due to lecture on his views, and had to leave. At
least three appointments were made with him, none of which Nigel had the
slightest intention of keeping--to "go into the matter more
thoroughly"--then Semolini vanished, charmed with his reception.

"Good heavens! will someone take me away and serve me up on a cold
plate?" said Nigel, directly he had gone. "Look here, Bertha, is the
chap off his head, a fraud, or serious?"

"Awfully serious. Are you going to see him to look into the matter?"

"I _think_ not," said Nigel