"It's very queer all the same. Rose says that a lot of the young men in the village have heaps of money lately, and I thought it might have something to do with smuggling." This is what distracted my mind from the story of the man who murdered Godfrey. I could not help wondering where Rose's young man and the others got their money. They were, I assumed, the same young men who frequented the co-operation store during the midnight hours. It was, of course, possible that they might earn the money there by some form of honest labour. But I could not imagine that Crossan had started one of those ridiculous industries by means of which Government Boards and philanthropic ladies think they will add to the wealth of the Irish peasants. Besides, even if Crossan had suddenly developed symptoms of kindly idiocy, neither wood-carving or lace-making could possibly have made Rose's freckly faced young man rich enough to buy a gold brooch. The thing puzzled me nearly as much as did the _Finola's_ midnight activity. CHAPTER VII All competent critics appear to agree that art ought to be kept entirely distinct from moral purposes. A picture meant to urge us on to virtue--and there are such pictures--is bad art. A play or a novel with a purpose stands condemned at once. The same canon of criticism must, I suppose, apply to parties of all kinds, dinner-parties, garden-parties, or house-parties. A good host or hostess ought, like the painter and the novelist, to aim at making her work beautiful in itself; and should not have behind the hospitality a cause of any kind, charitable or political.