Mark still hesitated. Pynsent was famous for his delineation of character. He had the power of seizing and transferring to canvas those delicate shades of expression which reveal the real man and woman. In pourtraying Betty, he had emphasised the mother in her at the expense, possibly, of the wife. The portrait was hardly flattering in the generally received sense. The face was troubled; lines and shadows lay on it. Betty's youth and beauty were subdued, as if beneath the touch of suffering rather than time. But the general effect remained that of a grace and loveliness independent of colour and texture. The admirable contours, the delicate modelling of cheek and brow and chin, indicated a noble maturity not yet attained but certain to be attained. Not at that moment, however, did Mark realise that Pynsent's portrait was an incomparable likeness of the Betty who had failed to keep tryst because the higher nature had overcome the lower and baser. But he did grasp a part of the truth. He told himself that if Betty had not suffered, Pynsent would have painted another and a different portrait.
"The face is strange to me," said Mark.
"What?" Pynsent exclaimed, staring at the speaker. "You, you say that? Why of all men, I——" He broke off abruptly, sensible of some psychological disturbance, puzzled and distressed. Mark laughed harshly. He had almost betrayed himself. Then he glanced at Betty. Her likeness to the picture was extraordinary.
"You m-m-misunderstand me," he stammered. "I meant to say that you had painted a woman who has changed. We all change. I hardly recognise my own f-face. This picture is, as you say, the b-b-best thing you've done, and I congratulate you warmly. I'd like to see it again. But now I must r-r-run away. I d-dropped in to tell you that my play is accepted."
This piece of news effectively cloaked his nervousness. Pynsent and Betty expressed their pleasure and congratulation. Mark shook hands and escaped.
"I thought he was not himself," said Pynsent, picking up his palette. "This will make up for a good deal, won't it? I know exactly how he feels. Great Scott! It seems only yesterday that I had my first picture hung in the Salon. I was skied, but I was the happiest man in Paris. All the same, Mark did not strike me as looking happy—eh?"
She answered his sharp "eh" and still sharper glance with a constrained "N-n-no."
CHAPTER XXXVIII
GONZALES
Mark plunged into the obscurity of the underground railway, cursing the impulse which had taken him to Pynsent's studio. Betty had suffered, but what was her suffering compared with his?