"Oh, yes," Marise nodded. She had never forgotten the lean young priest who led the open-air singing of his improvised chorus in front of his fortress-like old church. "Oh, yes, don't you remember we used to drive over just to hear his choir sing here and in another parish too?" "He is doing wonderful work. We work together a great deal." "You! With a cure!" Marise was astounded. Mlle. Hasparren laughed. "Oh, yes, yes, those radical ideas of mine. Of course I still have them. But they don't seem so important as they did. Father Armandariz and I are good friends. We both love music. That's enough. He puts cotton in his ears when I let fall a heresy, and I dip my fingers in the holy-water font and cross myself when I go to play the organ in church. Those are little things, and little things mustn't be allowed to interfere with great ones." That evening Marise watched a choir rehearsal, Mlle. Hasparren at her piano, Father Armandariz, bony, threadbare, hollow-cheeked, his eyes gleaming with ardor, leading now the group of serious-faced Basque girls in black mantillas, now the great-chested, burly Basque men whose resonant basses shook the little house. One of them (Mlle. Hasparren had said he was the village shoemaker) was given a bass solo and practised it over several times, while the others listened. He held his head high, drew in a great breath and sang as though it were the meaning of his life he were singing out, "Magnificat anima mea Dominum!" And then all the others with him, "My soul magnifies God!" Father Armandariz stopped them. "No, the altos were too slow on coming in. Once more." And then again, "Once more." They all kept their eyes on him earnestly; they began again unfalteringly as many times as was necessary; before the evening was over they looked tired; but it was a good fatigue, and when they finally finished and turned to smile at each other and fold their music sheets together, their faces wore a quiet, purified serenity which Marise envied them. This was music. Not one of them was thinking of himself nor how the music had made him appear to advantage nor how he could use music as a tool to get ahead of other people, or get himself talked about. The memory of Donna Antonia's soirees, of Mme. de la Cueva's good advice came into her mind. People called that sort of thing "art-atmosphere," didn't they? It was the cemetery of art, that's what it was, with the egotism of the performer dancing on the grave. One evening here, such an evening as this--there was more music in it than in months of chatter about the clothes and hair and morals and incomes of the people who make it on the platform.