Dick had taken a cottage on the shore of one of those long salt-water lochs that give to the west coast of Scotland such a dissipated appearance on the map. For miles around there was not a living soul who did not bear the name of Campbell--two families only excepted, one of whom was called Murray-Drummond and the other Drummond-Murray. However, it was not for the people that Dick and Millicent had come, so much as for the landscape, which made up in variety for anything that the inhabitants might lack. Behind the cottage, in the midst of a narrow strip of bog lying between the loch and the foot of the mountains, stood one of the numerous tombs of Ossian, a great barrow of ancient stones. And a couple of miles away the remains of Deirdre's Scottish refuge bore witness to the Celtic past. The countryside was dotted with the black skeletons of mediæval castles. Astonishing country, convulsed into fantastic mountain shapes, cut and indented by winding fiords. On summer days the whole of this improbable landscape became blue and remote and aerially transparent. Its beauty lacked all verisimilitude. It was for that reason that Dick chose the neighbourhood for his holidays. After the insistent actuality of London this frankly unreal coast was particularly refreshing to a jaded spirit. "Nous sommes ici en plein romantisme," said Dick on the day of their arrival, making a comprehensive gesture towards the dream-like scenery, and for the rest of his holiday he acted the part of a young romantic of the palmy period. He sat at the foot of Ossian's tomb and read Lamartine; he declaimed Byron from the summit of the mountains and Shelley as he rowed along the loch. In the evening he read George Sand's _Indiana_; he agonized with the pure, but passionate, heroine, while his admiration for Sir Brown, her English lover, the impassive giant who never speaks and is always clothed in faultless hunting costume, knew no bounds. He saturated himself in the verses of Victor Hugo, and at last almost came to persuade himself that the words, _Dieu_, _infinité_, _eternité_, with which the works of that deplorable genius are so profusely sprinkled, actually possessed some meaning, though what that meaning was he could not, even in his most romantic transports, discover. Pearl Bellairs, of course, understood quite clearly their significance, and though she was a very poor French scholar she used sometimes to be moved almost to tears by the books she found lying about when she came into existence after midnight. She even copied out extracts into her notebooks with a view to using them in her next novel. "Les plus désespérés sont les chants les plus beaux, Et j'en sais d'immortels qui sont de purs sanglots," was a couplet which struck her as sublime.