Laurent had studied him with much curiosity and perturbation at the outset. When it was proved by affirmative evidence that he was not Mademoiselle Jacques's lover, he estimated his character more fairly, and conceived a sort of friendship for him which resembled, albeit at a long distance, his sentiment for Thérèse. Palmer was a tolerant philosopher, strict enough in his dealings with himself and very charitable to others. In his ideas, if not in his character, he resembled Thérèse, and he was almost always in accord with her on all points. Now and then Laurent still felt jealous of what he called, in musical parlance, their imperturbable unison; and, as it was simply an intellectual jealousy, he ventured to complain of it to Thérèse.
"Your definition amounts to nothing," she said. "Palmer is too placid and too perfect for me. I have a little more fire, and I sing a little louder than he does. Compared with him, I am the high note in the major third."
"In that case, I am only a false note," said Laurent.
"No," said Thérèse, "with you I am modified and go down the scale to form the minor third."
"Then with me you descend half a tone?"
"And I am half an interval nearer to you than to Palmer."
[III]
One day, at Palmer's request, Laurent went to the Hôtel Meurice, where the American lived, to see that the portrait was suitably framed and packed. The lid was nailed on in their presence, and Palmer himself wrote his mother's name and address thereon with a brush; then, as the porters carried the box away to dispatch it on its long journey, Palmer grasped the artist's hand, and said:
"I owe it to you that my dear mother is soon to have a very great pleasure, and I thank you again. Now will you allow me to talk with you a few moments? I have something to say to you."
They went into a salon where Laurent saw several trunks.