THREE:It struck him that he was coolly analytical while his wife was reading the love-letter (if that bald statement of fact could be called a love-letter) of another man, and telling him frankly that she returned the man's love. Why could not he have had love, he who had done so much for her? There was always the subconsciousness of that sacrifice. He had magnified it a little, too, and it is difficult to be altogether lovable when one's mental attitude is "see what a good boy am I." But he had never reflected upon that. He went on telling himself whatin all justice to himhe had never thrown up to her, that his life had been one long devotion to her; rather as a principle than as a personality, to be sure, but then And yet she loved the fellow whom she had not known twenty-four hours in alla private, a government scout, unnoticeably below her in station. In station, to be sure; but not in birth, after all. It was that again. He was always brought up face to face with her birth. He tried to reason it down, for the hundredth time. It was not her fault, and he had taken her knowingly, chancing that and the consequences of her not loving him. And these were the consequences: that she was sitting rigid before him, staring straight ahead with the pale eyes of suffering, and breathing through trembling lips.Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.
He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections
