Why it is and what it means we shall perhaps never know for certain. But it does suggest itself, that as the greatest terror of our being lies in the utter loneliness, the unspeakable identity, and unchanging self-completeness of every living creature, so the greatest hope and the intensest natural yearning of our hearts go out towards that passion which in its fire heats has the strength, if only for a little while, to melt down the barriers of our individuality and give to the soul something of the power for which it yearns of losing its sense of solitude in converse with its kind. For alone we are from infancy to death!—we, for the most part, grow not more near together but rather wider apart with the widening years. Where go the sympathies between the parent and the child, and where is the close old love of brother for his brother? The invisible fates are continually wrapping us round and round with the winding sheets of our solitude, and none may know all our heart save He who made it. We are set upon the world as the stars are set upon the sky, and though in following our fated orbits we pass and repass, and each shine out on each, yet are we the same lonely lights, rolling obedient to laws we cannot understand, through spaces of which none may mark the measure. Only, as says the poet in words of truth and beauty: “Only but this is rare— When a beloved hand is laid in ours, When jaded with the rush and glare Of the interminable hours, Our eyes can in another’s eyes read clear; When our world-deafened ear Is by the tones of a loved voice caressed A bolt is shot back somewhere in our breast And a lost pulse of feeling stirs again— And what we mean we say and what we would we know. And then he thinks he knows The hills where his life rose And the sea whereunto it goes.” Some such Indian summer of delight and forgetfulness of trouble, and the tragic condition of our days, was now opening to Harold Quaritch and Ida de la Molle. Every day, or almost every day, they met and went upon their painting expeditions and argued the point of the validity or otherwise of the impressionist doctrines of art. Not that of all this painting came anything very wonderful, although in the evening the Colonel would take out his canvases and contemplate their rigid proportions with singular pride and satisfaction. It was a little weakness of his to think that he could paint, and one of which he was somewhat tenacious. Like many another man he could do a number of things exceedingly well and one thing very badly, and yet had more faith in that bad thing than in all the good.