Five o’clock struck before Evelyn had time to think of herself. And then it was only a very ordinary incident that recalled her. In her bedroom, on her mantelpiece, there stood a plaster cross which she had bought in Italy some years before. It was unusual in its way, the work of a man she had rescued from starvation. The cross was shaped conventionally enough, but the Figure upon it was clumsy and distorted. It looked like a travesty of suffering, an almost grotesque image of the sublime sacrifice. Of late, she had noticed that the pedestal on the right side of the cross had worn away a little; in her hurried dusting, the maid had perhaps given it a knock which made it likely to overbalance. Evelyn came into the room suddenly, and the Image fell, shattered, at her feet—crushed into so many pieces that nothing would mend it. She lifted it up with a little cry of dismay; one may renounce one’s creed, in action, yet worship it in the temple of the heart. She did not often enter Brand’s dressing-room, so full was it of little things which jarred. Over his bed there was the figure of a satyr chasing a nude figure; water dripped from the woman’s limbs, surprised while bathing. The walls had been distempered in a pale green tone which gave significance to the frames of the other pictures, mostly reproductions of French impressionist studies, types of the art of Claude Monet and his followers. One showed a naked woman lying on a bed with black sheets and black pillows; round her neck was a narrow band of black velvet. Another was the picture of a ballet-dancer, done by a leading member of the New English Art Club, a clever study in its way. In the foreground was the flare of footlights, concentrating their illumination upon the bare boards of a Paris music-hall stage. The central figure was that of a ballet-girl with whirling skirts and disordered hair; she was leaning forward, smiling, as she danced, at an audience roused to the utmost pitch of frenzy by the suggestion of pose and gesture. Another was the copy of an old French print, called in simple language, "Le Bouquet." A woman was lying in a wood, her head resting on a mound; her lover was kneeling beside her, looking down; he was crushing a bunch of roses against her breast and its disordered drapery. The writing-table was in the window. Evelyn crossed to it; it was dusty. She cleaned and tidied this room herself, remaking the bed, which the servant had made carelessly; washing the glasses of the pictures, and the frames; tidying the dressing-table and polishing the wardrobe. When all was done she stopped to look back at her work, to see if anything was forgotten. The waste-paper basket was still full.