The whole business proved the first of a series of phenomena so strangely interlaced that, taken together—which was how I had to take them—they form as good an illustration as I can recall of the manner in which, for the good of his soul doubtless, fate sometimes deals with a man’s avidity. These incidents certainly had larger bearings than the comparatively meagre consequence we are here concerned with—though I feel that consequence also a thing to speak of with some respect. It’s mainly in such a light, I confess, at any rate, that the ugly fruit of my exile is at this hour present to me. Even at first indeed the spirit in which my avidity, as I have called it, made me regard that term owed no element of ease to the fact that before coming back from Rapallo George Corvick addressed me in a way I objected to. His letter had none of the sedative action I must to-day profess myself sure he had wished to give it, and the march of occurrences was not so ordered as to make up for what it lacked. He had begun on the spot, for one of the quarterlies, a great last word on Vereker’s writings, and this exhaustive study, the only one that would have counted, have existed, was to turn on the new light, to utter—oh, so quietly!—the unimagined truth. It was in other words to trace the figure in the carpet through every convolution, to reproduce it in every tint. The result, according to my friend, would be the greatest literary portrait ever painted, and what he asked of me was just to be so good as not to trouble him with questions till he should hang up his masterpiece before me. He did me the honour to declare that, putting aside the great sitter himself, all aloft in his indifference, I was individually the connoisseur he was most working for. I was therefore to be a good boy and not try to peep under the curtain before the show was ready: I should enjoy it all the more if I sat very still.