What the gardener called the gravel path was black earth, moss-grown. Very pretty, but Betty thought it shabby.
It was soft and cool, though, to the feet, and the dust of the white road sparkled like diamond dust in the sunlight.
She crossed the road and passed through the swing gate into the park, where the grass was up for hay, with red sorrel and buttercups and tall daisies and feathery flowered grasses, their colours all tangled and blended together like ravelled ends of silk on the wrong side of some great square of tapestry. Here and there in the wide sweep of tall growing things stood a tree—a may-tree shining like silver, a laburnum like fine gold. There were horse-chestnuts whose spires of blossom shewed like fat candles on a Christmas tree for giant children. And the sun was warm and the tree shadows black on the grass.
Betty told herself that she hated it all. She took the narrow path—the grasses met above her feet—crossed the park, and reached the rabbit warren, where the chalk breaks through the thin dry turf, and the wild thyme grows thick.
A may bush, overhanging a little precipice of chalk, caught her eye. A wild rose was tangled round it. It was, without doubt, the most difficult composition within sight.
"I will sketch that," said Eighteen, confidently.
For half an hour she busily blotted and washed and niggled. Then she became aware that she no longer had the rabbit warren to herself.
"And he's an artist, too!" said Betty. "How awfully interesting! I wish I could see his face."
But this his slouched Panama forbade. He was in white, the sleeve and breast of his painting jacket smeared with many colours; he had a camp-stool and an easel and looked, she could not help feeling, much more like a real artist than she did, hunched up as she was on a little mound of turf, in her shabby pink gown and that hateful garden hat with last year's dusty flattened roses in it.
She went on sketching with feverish unskilled fingers, and a pulse that had actually quickened its beat.