For half an hour he worked thus, he, too absorbed for speech, she wise enough not to risk an interruption. Then from mere fatigue of brain and eye with this sustained white-heat effort, he felt his power of vision slipping from him, and laid his palette down.
"Come and look at it," he said to his mother.
The face was but roughly put in as yet, but the spirit of the face was there.
"Oh, Charles, dear," she said. "That is just how I love Reggie and you. How did you guess?"
He took her face in his hands and kissed her.
"Guess? I didn't guess," he said. "You told me: your face told me."
Charles was not to be induced to leave his picture while daylight lasted, but he wheeled it round with its face to the wall, before he shut up his studio for the night. He was not sure whether he wished Craddock to see it in its present stage: somehow, it seemed to him private, not for everybody, until it had been clothed, so to speak, in paint. He felt shy, though at the same time he told himself he was merely fantastical at exhibiting so crude a confidence ... and while he was in two minds about it next morning, he heard his visitor's footstep on the bare and creaky staircase outside. The last flight of steps as he knew well was a mere trap to the ignorant, with the darkness of it, and its angles and corners, and he set his door wide to give light to his visitor. Then, just before Craddock came in, he told himself he was ridiculous in imagining that there could be privacy in a portrait, and wheeled the easel round so that it stood just opposite the door.
Craddock, large and white and gently perspiring, emerged from the stairs with outstretched hand, and—
"Good morning, my dear fellow," he said. "It is very well for Art to sequester herself and live alone, but four flights of break-neck stairs are really an exaggerated precaution against intrusion. However, here I am——"