The can of white paint and the brush actually did materialize. For weeks it was dangerous to sit, lean, or tread upon any paintable thing in the DeJong farmhouse without eliciting a cry of warning from Selina. She would actually have tried her hand at the outside of the house with a quart can and three-inch brush if Pervus hadn’t intervened. She hemmed dimity curtains, made slip-covers for the hideous parlour sofa and the ugliest of the chairs. Subscribed for a magazine called _House and Garden_. Together she and Roelf used to pore over this fascinating periodical. Terraces, lily-pools, leaded casements, cretonne, fireplaces, yew trees, pergolas, fountains—they absorbed them all, exclaimed, admired, actually criticized. Selina was torn between an English cottage with timbered porch, bay window, stone flagging, and an Italian villa with a broad terrace on which she would stand in trailing white with a Russian wolf-hound. If High Prairie had ever overheard one of these conversations between the farm woman who would always be a girl and the farm boy who had never been quite a child, it would have raised palms high in an “Og heden!” of horror. But High Prairie never heard, and wouldn’t have understood if it had. She did another strange thing: She placed the fine hand-carved oak chest Roelf had given her in a position so that her child should see it as soon as he opened his eyes in the morning. It was the most beautiful thing she possessed. She had, too, an incomplete set of old Dutch luster ware. It had belonged to Pervus’s mother, and to her mother before her. On Sunday nights Selina used this set for supper, though Pervus protested. And she always insisted that Dirk drink his milk out of one of the lovely jewel-like cups. Pervus thought this a piece of madness.