Hardy went out of doors, turned on to the Embankment, and so on to Chelsea, for the third time that day. He wanted to assure himself of Audrey's nearness by one more sight of the brown brick shrine that held her. The house stood as he had seen it once before, asleep in the yellow gaslight, shut in from the road by the trees, screened from the lamps on the Embankment by the storm-shutters folded over its windows, guarding its secrets well, all but two windows on the second floor, which were open to the night. That was Audrey's room, he knew. Little fool! Ill with a feverish cold, and sleeping with open windows! For about half an hour he walked up and down on the Embankment opposite, like a sentry on duty, his long shadow blackening and fading as he passed from light to light. When he got back to his rooms, he felt a sensation that had sometimes come upon him after a long day's hunting, a feeling of deadly fatigue and stifling emptiness, as if the rest of his body were drained of the blood that choked his heart. He opened his travelling-bag, took out a large silver flask, looked at it, sighed, shuddered slightly, poured about two tablespoonfuls of brandy down his throat; and then, with a gesture of indescribable disgust, emptied the remainder out of the window into the yard below. He undressed and got into bed quickly, turned over on his right side for greater ease, and was soon asleep and dreaming of to-morrow. CHAPTER XVI There was no sleep for Ted that night. Towards morning he fell into a doze, broken by unpleasant dreams, and woke with a confused consciousness of trouble. It had been connected in his dreams with Hardy's return, and, once awake, the knowledge that he was in the same house with him was insupportable. Not that he had yet guessed how Vincent stood to Audrey; he had simply a nervous dread of hearing him talk about her. The casual utterance of her name went through him like a sword, and in his present mood Vincent's boisterous spirit disturbed and irritated him. More to get away from him than with any definite idea of work, he spent his morning at the National Gallery, touching up the copy of the Botticelli Madonna which Katherine had begun long ago for Audrey. He had set to work almost mechanically, with a sense that whatever he did at the present moment was only provisional,--only a staving off of the intolerable future; but soon the technical difficulties of his task absorbed him, and he became interested in spite of himself. He was so passive to the spiritual influences of line and colour, that perhaps the beauty of the grey-eyed girl Madonna may have given him something of its own tranquillity. Unfortunately the good effects of his morning's industry were undone when he got home, by finding Hardy alone in the studio, sitting before Audrey's portrait. He had dragged the easel to the light, and had been studying the canvas for some minutes before Ted came in. The boy stifled an angry exclamation.