The morning was cloudy but fine, and the clouds were high. In front of the windows of the dining-room the ground fell sharply away into the glen, through which brawled the coffee-coloured water of the river where the two ladies were to fish, and Mr. Dennison, as he walked about eating his porridge, a further recognition to the fact that this was Scotland, drew attention to the beautiful contrasts of green and russet in the glen. He also mislaid the spoon with which he had intended to eat his porridge, and after drawing attention to his loss, apparently drew the spoon out of Mr. Osborne's breast pocket. He was accustomed to be the life and soul of the party, and had equal command over the flowers of language and the easier feats of sleight of hand. The flowers of language were his next preoccupation, for Lady Dover had hoped that there would be enough sun for him to work at his picture. "We landscape painters," he said, "are terribly at the mercy of the elements. We may perhaps half-grasp a conception, a cloudy effect, it may be, and then we are given a fortnight of bright and blazing sunshine. What are we to do? Begin another picture? Ah, that is to let the first conception fade. I spent a month once in Skye watching for an effect I had seen ten years before. Not a stroke of the brush did I make all that month; I waited. Then one morning it came." He shrugged his shoulders. "Quite a small picture," he said, "and I sold it for a song. But my reward was the fact that I had waited for it. That was my imperishable possession; my character, my artistic character, was at stake. And I won; yes, I won." Lady Dover broke in upon the sympathetic pause. "But a portrait-painter, Mr. Dennison," she said; "surely he may have to wait also for the same look to appear on the face of his sitter. Is not the sitter as fickle as the clouds or the sun?" Dennison had finished his porridge, and was seated on Lady Dover's left. He drew with his long white forefinger a few imagined lines in the air. "No, I don't think so," he said. "There are the features; the light can be adjusted. You have but to awake again the train of thought that was in the sitter's mind, and the expression, which after all is only a matter of line, becomes the same again. Look at Dundas's pictures, for instance. I do not deny their merit; but what is there? Five sweeps of the brush is the face, literally no more. A piece of mere scene-painting is the background, a bunch of bananas is the hand, I assure you, a bunch of bananas. That would not be my scheme if I was a portrait painter. I should study my sitter till the very finger-nails were an integral part of the picture, so that the picture would be incomplete without them. Poor Dundas, I think we have heard the last of him. This terrible----"