Rowland had for the second time the feeling that she judged him to be a person of a disagreeably sophisticated tone. He noticed too that the kitchen towel she was hemming was terribly coarse. And yet his answer had a resonant inward echo, and he repeated to himself, “Yes, on the whole, I prefer ours.”
“Well, these models,” began Mr. Striker. “You put them into an attitude, I suppose.”
“An attitude, exactly.”
“And then you sit down and look at them.”
“You must not sit too long. You must go at your clay and try to build up something that looks like them.”
“Well, there you are with your model in an attitude on one side, yourself, in an attitude too, I suppose, on the other, and your pile of clay in the middle, building up, as you say. So you pass the morning. After that I hope you go out and take a walk, and rest from your exertions.”
“Unquestionably. But to a sculptor who loves his work there is no time lost. Everything he looks at teaches or suggests something.”
“That ‘s a tempting doctrine to young men with a taste for sitting by the hour with the page unturned, watching the flies buzz, or the frost melt on the window-pane. Our young friend, in this way, must have laid up stores of information which I never suspected!”
“Very likely,” said Rowland, with an unresentful smile, “he will prove some day the completer artist for some of those lazy reveries.”
This theory was apparently very grateful to Mrs. Hudson, who had never had the case put for her son with such ingenious hopefulness, and found herself disrelishing the singular situation of seeming to side against her own flesh and blood with a lawyer whose conversational tone betrayed the habit of cross-questioning.