Oh, there was excuse for her youthful ardency to know all that there was to be known in the world at once! But if she had used her excellent brains, she would have realized that all that is to be known in the world could not be learned in her new environment. The unholy crew--they called it "The Brotherhood"--into which she plunged consisted of the dregs of a decadent art-world, unclean in person and in ethics. At first, she revolted. But the specious intellectuality of the crew fascinated her. Hitherto, she had seen life purely from the scientific angle. Material cause, material effect. On material life, art but an excrescence. She had been carelessly content to regard it merely as an interpretation of Beauty--to her, almost synonymous with prettiness. At the various meeting-places of the crew, who talked with the interminability of a Russian Bolshevik, she learned a surprising lot of things about art that had never entered into her philosophy. She learned, or tried to learn--though her intelligence boggled fearfully at it--that the most vital thing in existence was the decomposition of phenomena, into interesting planes. All things in nature were in motion--as a scientific truth, she was inclined to accept the proposition; but the proclaimed fact that the representation of the Lucretian theory of fluidity by pictorial diagrams of intersecting planes was destined to revolutionize human society was beyond her comprehension. Still, it was vastly interesting. They got their plane-system into sculpture, into poetry, in some queer way into sociology. A dingy young painter, meagerly hirsute, and a pallid young woman of anarchical politics assembled the crew one evening and, taking hands, announced the fact of their temporary marriage. The temporary bridegroom made a speech which was enthusiastically acclaimed. Their association was connected (so Camilla understood) with some sublime quality inherent in the intersecting planes. In these various pairings gleamed none of the old Latin Quarter joyousness. Their immorality was most austere. To Camilla, it was all new and startling--a phantasmagorical world. Free love the merest commonplace. And, after a short while, into this poisonous atmosphere wherein she dwelt there came two influences. One was the vigilancy of the Women's Social and Political Union; the other, Harry Shileto, a young architect, a healthy man in the midst of an unhealthy tribe.