He never knew quite how it came about that she went abroad with them to Dauphiné in the autumn of 1904--a rather disastrous business--never again would he take anyone travelling who did not know how to come in out of the cold. It was a painter's country, and he had hired a little _chateau_ in front of the Glandaz mountain--himself, his wife, their eldest girl, and Alicia. The adaptation of his famous manner to that strange scenery, its browns and French greys and filmy blues, so preoccupied him that he had scant time for becoming intimate with these hills and valleys. From the little gravelled terrace in front of the annex, out of which he had made a studio, there was an absorbing view over the pan-tiled old town of Die. It glistened below in the early or late sunlight, flat-roofed and of pinkish-yellow, with the dim, blue River Drôme circling one side, and cut, dark cypress-trees dotting the vineyarded slopes. And he painted it continually. What Alicia did with herself they none of them very much knew, except that she would come in and talk ecstatically of things and beasts and people she had seen. One favourite haunt of hers they did visit, a ruined monastery high up in the amphitheatre of the Glandaz mountain. They had their lunch up there, a very charming and remote spot, where the watercourses and ponds and chapel of the old monks were still visible, though converted by the farmer to his use. Alicia left them abruptly in the middle of their praises, and they had not seen her again till they found her at home when they got back. It was almost as if she had resented laudation of her favourite haunt. She had brought in with her a great bunch of golden berries, of which none of them knew the name; berries almost as beautiful as these spindleberries glowing on the stone of the wall. And a fourth memory of Alicia came.