Under the pine trees she was far enough from the house to consider it as a whole. She studied its weatherbeaten secrecy. She had the anxious apprehension of the artist, who needs to _feel_ his subject, purge it of mere reality, before he can begin work. The long line of the roof sagged a little, like an animal inured to carry burdens. The two semicircled bays, flanking the veranda, kept the garden under scrutiny. Each of all those windows had its own outlook on life. A thread of smoke stole from the kitchen chimney, sifting into the hazy morning. Imperceptible greyness was in the nebulous light, filtered through a gauze of ocean fog. The house was waiting, waiting. That vapoury air dimmed the bright world like breath on a mirror. Yet, for her mood, it was somehow right. A morning of fire and blue would have been indecent. Houses, built for rest and safety, and then filled with the tension of such trivial sufferings. I wonder if any one has ever done a true portrait of a house? The opaque pearly light now seemed to her more sincere than any glamour of sun or moon. But how reluctant it was to surrender its meaning. She could hear the excited voices of the children, calling to and fro. Her mind was still pursuing something, she didn’t know just what. It was like trying to think of a forgotten word. The house hasn’t yet quite got over being empty so long, she thought. It’s still a little bit empty. Or it believed that being lived in again would be such fun, and now it’s disappointed. It had forgotten that life is like this. She began to paint. This picture was for George, to remind him of things he did not know he knew. It must have love in it, and something more, too. The name of this picture, she said to herself, is A Portrait of a House Saying Good-bye.