"Of course I have tried. It would be a step gained to move you—even in that way."
"I thought your experiment was to be all on one side?" she said. They were sitting in a shady corner of the cloisters of San Marco; she was leaning back in her chair, following with the point of her parasol the lines of the Latin inscription on the slab at her feet over an old monk's last resting-place.
"I am not so consistent as I should be," he answered, rising and sauntering off, with his hands in the pockets of his short morning-coat, to look at St. Peter the Martyr.
At another time they were in the Michael Angelo chapel of San Lorenzo. It was past the hour for closing, but Morgan had bribed the custode to allow them to remain, and the old man had closed the door and gone away, leaving them alone with the wondrous marbles.
"What do they mean?" he said. "Tell me."
"They mean fate, our sad human fate: the beautiful Dawn in all the pain of waking; the stern determination of the Day; the recognition of failure in Evening; and the lassitude of dreary, hopeless sleep in Night. It is one way of looking at life."
"But not your way?"
"Oh, I have no way; I am too limited. But genius takes a broader view, and genius, I suppose, must always be sad. People with that endowment, I have noticed, are almost always very unhappy."
He was sitting beside her, and, as she spoke, he saw a little flush rise in her cheeks; she was remembering when Mrs. Lovell had used the same words, although in another connection.
"We have never spoken directly, or at any length, of Beatrice," she said, suddenly. "I wish you would tell me about her."