you must not risk your big work,"
she reminded him. "That, too, has to be ready in a few weeks."

"I shall have the whole of March for it exclusively. I am finishing my
portraits this month."

"Your sketches are satisfactory?"

"One or two mornings more, and I shall have as much as I need. My
difficulty with the picture all these years has been that I have had to
build it up largely out of my own mind. My actual scene has of course
never really existed in nature--though once or twice I managed to catch
something of the kind here on the spot. But that was quite tumultuous
and indiscriminate, whereas I wanted to catch the essence of the thing."

"You frighten the poor little amateur out of her wits."

They both laughed. "I had to snatch bits as best I could. Whilst
striving to suggest the tumult and movement, I yet picked my material so
as to give contrast and symbolism. Then I had to get my workmen and all
the other kinds of folk to pose separately in the studio. Fortunately my
old studio opened at the back into a little glass-house, and so I was
able to pose the model as in the open. Naturally with the work on so
huge a scale, I was wrestling with almost every drawback that could be
conceived. It was no doubt a great mistake to have planned it at all,
but I have learnt lessons I shall never forget."

"But you have conquered at last."

"Honestly, no. But it will succeed. My first idea was that the whole
scene should be bathed in sunlight. But this, by throwing a vibration
and glow over everything, would have submerged the social contrast of
Fashion and Labour--would have made the whole thing primarily a piece of
pure technique, and weakened its human significance. I did not want the
sunshine to be the motive of the picture; I wanted the human side to
stand out first, and speak with its full force. I therefore chose a
dull light, so that the smartness of Fashion glows in relief against the
drab tones of Labour. I am afraid though I am exaggerating the contrast
more than I really like. That, however, will help it with the great
public."

"I don't think I approve of such sentiments. I want you to strive for
the highest."

"That is the future. But here it was a question of extricating myself
from wreckage. As art it is far from perfect. But its success will help
me to higher things."

"On that ground only we must pass it this time. But I have been
wondering how you will use these last sketches you have been maki