Of course Amory recognized that Cosimo was not absolutely aimless as long as he had Amory's own art to admire; but that was a narrow and selfish way of looking at it. Amory didn't want Cosimo to admire her art for any personal glory she might get of it. She wanted him, not for herself, but for a Cause. In her picture he posed as the champion who had stricken the bonds from the belted and sworded and flashing and free young woman (who was quite frankly Amory herself), because that was the _rôle_ she wished to see him in; but she knew how easy it would be (Cosimo was so good natured) for any designing and retrogressive young woman to get hold of him and to enlist his support for the forces of conservatism and the night. That (Amory's pretty lips compressed and her eyes shone with a cold and opal-like fire) _must_ not be. In order that it might not be, Amory had made use of Dorothy's name; not that she really wanted him to marry Dorothy, but that even to marry Dorothy would be better than to marry somebody more benighted still. It was a mere _ruse de guerre_, justified by the larger issue. These things have to be done when the fiends of ignorance and the angels of knowledge contend. Amory called these fiends and angels the Anabolic and the Katabolic forces in human progress. It didn't matter what you called them. Two principles always had contended and always would contend. It was a Law. Therefore Amory wanted Cosimo on the side of the angels and victory. Ever so much more she wanted him on that side now that he was a man of some substance. For money is the sinews of Anabolic and Katabolic warfare also. Cosimo with his money and Amory with her new art--what might they not accomplish, working together? A whole Promised Land of endeavour lay shining before them. For Amory herself (for example) there were all the possibilities of symbolic painting--a style of painting which (actual draughtsmanship being admittedly her weak point) would suit her genius the more exactly for that very reason. Nobody can dismiss a symbol because it is badly drawn; any old drawing will do for a symbol. For the holy purposes of social regeneration the novelists thought any old writing good enough; and so it was. So it should be for Amory too. She had half a mind to let drawing go altogether. Then, with drawing out of the way, she saw her task. "Barrage" would be followed by a picture (perhaps a newer word than "picture" would be necessary to describe it) that would symbolize Labour Unrest; she was thinking it out in her spare moments already. Then there should be another, a slap in the face for Militarism. After that should come canvases dealing with Education, and Disestablishment, and the Triumph of Sentimental Government and the establishment of the New Matriarchy. Oh yes, Amory saw her task though twenty lifetimes lay before her....