The landlady gave a knowing nod. “Don’t trust to it, monsieur! Those artists--ca na pas de principes! From one day to another he can plant her there! I know them, allez. I’ve had them here very often; one year with one, another year with another.” Longmore was at first puzzled. Then, “You mean she’s not his wife?” he asked. She took it responsibly. “What shall I tell you? They’re not des hommes serieux, those gentlemen! They don’t engage for eternity. It’s none of my business, and I’ve no wish to speak ill of madame. She’s gentille--but gentille, and she loves her jeune homme to distraction.” “Who then is so distinguished a young woman?” asked Longmore. “What do you know about her?” “Nothing for certain; but it’s my belief that she’s better than he. I’ve even gone so far as to believe that she’s a lady--a vraie dame--and that she has given up a great many things for him. I do the best I can for them, but I don’t believe she has had all her life to put up with a dinner of two courses.” And she turned over her lamb-chops tenderly, as to say that though a good cook could imagine better things, yet if you could have but one course lamb-chops had much in their favour. “I shall do them with breadcrumbs. Voila les femmes, monsieur!” Longmore turned away with the feeling that women were indeed a measureless mystery, and that it was hard to say in which of their forms of perversity there was most merit. He walked back to Saint-Germain more slowly than he had come, with less philosophic resignation to any event and more of the urgent egotism of the passion pronounced by philosophers the supremely selfish one. Now and then the episode of the happy young painter and the charming woman who had given up a great many things for him rose vividly in his mind and seemed to mock his moral unrest like some obtrusive vision of unattainable bliss.