"Yes," she said; and it seemed to me as if a slight cloud came over her fair face. I was going to speak to her on the subject, when the pretty waitresses came to us smiling, and chattering sweetly like reed warblers by the river side, and fell to giving us our dinner. As to this, as at our breakfast, everything was cooked and served with a daintiness which showed that those who had prepared it were interested in it; but there was no excess either of quantity or of gourmandise; everything was simple, though so excellent of its kind; and it was made clear to us that this was no feast, only an ordinary meal. The glass, crockery, and plate were very beautiful to my eyes, used to the study of mediaeval art; but a nineteenth-century club-haunter would, I daresay, have found them rough and lacking in finish; the crockery being lead-glazed pot-ware, though beautifully ornamented; the only porcelain being here and there a piece of old oriental ware. The glass, again, though elegant and quaint, and very varied in form, was somewhat bubbled and hornier in texture than the commercial articles of the nineteenth century. The furniture and general fittings of the hall were much of a piece with the table-gear, beautiful in form and highly ornamented, but without the commercial "finish" of the joiners and cabinet-makers of our time. Withal, there was a total absence of what the nineteenth century calls "comfort"--that is, stuffy inconvenience; so that, even apart from the delightful excitement of the day, I had never eaten my dinner so pleasantly before. When we had done eating, and were sitting a little while, with a bottle of very good Bordeaux wine before us, Clara came back to the question of the subject-matter of the pictures, as though it had troubled her. She looked up at them, and said: "How is it that though we are so interested with our life for the most part, yet when people take to writing poems or painting pictures they seldom deal with our modern life, or if they do, take good care to make their poems or pictures unlike that life? Are we not good enough to paint ourselves? How is it that we find the dreadful times of the past so interesting to us--in pictures and poetry?" Old Hammond smiled. "It always was so, and I suppose always will be," said he, "however it may be explained. It is true that in the nineteenth century, when there was so little art and so much talk about it, there was a theory that art and imaginative literature ought to deal with contemporary life; but they never did so; for, if there was any pretence of it, the author always took care (as Clara hinted just now) to disguise, or exaggerate, or idealise, and in some way or another make it strange; so that, for all the verisimilitude there was, he might just as well have dealt with the times of the Pharaohs."