"Um," replied the painter, "how much sadder it would be if there were no Birr Wood for the Randolphs, or those that come after them. Suppose it burned down—eh?"
Mark was silent.
"I have heard you say," continued Pynsent, "that the work, the best work of men's hands, is greater than the men themselves. And you are right. To me Birr Wood is not the ancient home of the Randolphs, nor the masterpiece of Inigo Jones, but a materialisation, adapted to modern needs, of the spirit of Greek architecture. For my part, kind as our friends have been, much as I like them as individuals, I feel that their house is, in a strained sense perhaps, profaned by the presence of an hereditary disease. The Randolphs Van Dyck painted were worthy to live at Birr Wood."
This talk took place upon the terrace facing the Italian gardens upon the Friday preceding Whit Sunday. The Samphires, Pynsent, Jim Corrance and his mother, Betty Kirtling, young Kirtling (now Lord Kirtling), and three fashionable maidens made up a party which had assembled on that day, and would disperse upon the following Tuesday.
Jim had not met Archibald Samphire for some three years. Archie, Jim said to himself, might be only a minor canon, but already he had the air of a great gun. He spoke little, and it was understood that he was thinking of his sermon in Westchester Cathedral. After dinner, in the red saloon, he sang three songs: one a lyric, a Frühlingslied sweetly pastoral and simple; the second a love song by an eminent French composer; the last that hackneyed adaptation of Bach's lovely prelude, Gounod's "Ave Maria." When he moved from the piano the girls surrounded him, prattling thanks and entreaties for more. But Betty, so Corrance noted, sat still, with a faint flush upon her cheeks and a suffused light in her eyes.
"He sings extraordinarily well," said Jim.
"Yes," Betty sighed.
Just then Mark came up, rubbing his hands. His delight in his brother's voice struck Jim as being pathetic.
"It's the quality that does it," Mark explained. "That second song of his—rubbish—eh? But it thrilled—didn't it, Betty? And the tragic note, the note of interrogation: the forlorn 'why'—you heard that?"
"Yes, yes," said Betty hastily.