The following day Vandover rented a studio. It was the lofty room with hardwood floors and the immense north light in that suite which he had rejected when looking for rooms on the former occasion. He gave notice to the clerk in the apartment house where his quarters were situated that he intended to vacate after the first of the month. Charming as he had found these rooms, he gave up, with scarcely a regret, the idea of living in them any longer. In a month it would be summer and he would be on his way to Paris. But so great was his desire for work now, so eager was he to start the "Last Enemy," so strong was the new energy that shook him, that Vandover could not wait until summer to begin work again. He grudged everything now that kept him away from his easel. He disappeared from the sight of his ordinary companions; he did not even seek the society of Geary or of young Haight. All the sketches he had made for the "Last Enemy," together with his easel and his disused palette, his colour-box, tubes, brushes and all the other materials and tools for his work, he caused to be transferred to the new studio. Besides this he had the stretcher made, best twill canvas on a frame four feet long, two and a half feet high. This was for the large sketch of the picture. But the finished work he calculated would demand an eight by five stretcher. He did not think of decorating the room, of putting any ornaments about the wall. He was too serious, too much in earnest now to think of that. The studio was not to be his lounging place, but his workshop. His art was work with him now, hard, serious work. It was above all _work_ that he needed to set him right again, regular work, steady, earnest work, not the dilettante fancy of an amateur content with making pretty things. Never in his life had Vandover been so happy. He came and went continually between his rooms, his studio, and his art dealers, tramping grandly about the city, whistling to himself, strong, elated, filled with energy, vigour, ambition. At times his mind was full of thankfulness at this deliverance at the eleventh hour; at times it was busy with the details of the picture, its composition, its colour scheme. The main effects he wanted to produce were isolation and intense heat, the shadows on the sand would be blue, the horizon line high on the canvas, the sky would be light in tone, almost white near the earth. The morning when he first began to work was charming. His new studio was in the top floor of a five-story building, and on arriving there, breathless from his long climb up the stairs, Vandover threw open the window and gazed out and down upon the city spread out below him, enjoying the view a moment before settling to his work.