They did not speak. They did not look at each other.
“Let us stop a while,” said the young woman.
They stopped, and the painter sat down on a camp stool that the servant handed him.
Those who were passing behind the silent and motionless couple looked at them compassionately. A whole legend of devotion was attached to them. He had married her in spite of her infirmity, touched by her affection for him, it was said.
Not far from there, two young men were chatting, seated on a bench and looking out into the horizon.
“No, it is not true; I tell you that I am well acquainted with Jean Sumner.”
“But then, why did he marry her? For she was a cripple when she married, was she not?”
“Just so. He married her—he married her—just as every one marries, parbleu! because he was an idiot!”
“But why?”
“But why—but why, my friend? There is no why. People do stupid things just because they do stupid things. And, besides, you know very well that painters make a specialty of foolish marriages. They almost always marry models, former sweethearts, in fact, women of doubtful reputation, frequently. Why do they do this? Who can say? One would suppose that constant association with the general run of models would disgust them forever with that class of women. Not at all. After having posed them they marry them. Read that little book, so true, so cruel and so beautiful, by Alphonse Daudet: 'Artists' Wives.'