They emerged from the wood and followed the grass-grown lane, round by the small mill-pond. Crossing the park once more, they entered the village by the Yeoborough road.
“What a girl!” said Dangelis to himself, in a voice of unmitigated admiration, as he held open for her, at last, the little gate of the old vicarage garden, and waved his good-bye.
“What a girl! Heaven help that unfortunate Mr. Clavering! If he’s as susceptible as most of these young Englishmen, she’ll make havoc of his poor heart. Will he read the ‘Imitation’ with her, I wonder?”
He strolled slowly back, the way they had come, the personality of the insidious Gladys pressing less and less heavily upon him as his thought reverted to his painting. He resolved that he would throw all these recent impressions together in some large and sumptuous picture, that should give to these modern human figures something of the ample suggestion and noble aplomb, the secret of which seemed to have been lost to the world with the old Flemish and Venetian masters.
What in his soul he vaguely imaged as his task, was an attempt to eliminate all mystic and symbolic attitudes from his works, and to catch, in their place, if the inspiration came to him, something of the lavish prodigality, superbly material, and yet possessed of ineffable vistas, of the large careless evocations of nature herself.
His imaginative purpose, as it defined itself more and more clearly in his mind, during his solitary return through the evening light, seemed to imply an attempted reproduction of those aspects of the human drama, in such a place as this, which carried upon their surface the air of things that could not happen otherwise, and which, in their large inevitableness, over-brimmed and over-flowed all traditional distinctions. He would have liked to have given, in this way, to the figures of Gladys and her mother, something of the superb non-moral “insouciance,” springing, like the movements of animals and the fragrance of plants, out of the bosom of an earth innocent of both introspection and renunciation, which one observes in the forms of Attic sculpture, or in the creations of Venetian colourists. Below the high ornamental wall of Nevilton garden he paused a moment before entering the little postern-gate, to admire the indescribable greenness and luxuriousness of the heavy grass devoted in this place, not to hay-makers but to cattle. There was a sort of poetry, he humorously told himself, even about the great black heaps of cow-dung which alternated here with the golden clumps of drowsy buttercups. They also,—why not?—might be brought into the kind of picture he visioned, just as Veronese brought his mongrels and curs to the very feet of the Saviour!
Dangelis lifted his eyes, to where, through a gap in the leafy uplands, the more distant hills were visible. He could make out clearly, in the rich purple light, the long curving lines of the Corton downs, as they melted, little by little, in a floating lake of aerial blue-grey vapour, the exhalation of the great valley’s day-long breathing.
He could even mark, at the end of the Corton range—and the sight of it gave him a thrilling sense of the invincible continuity of life in these regions—the famous tree-crested circle of Cadbury Camp, the authentic site of the Arthurian Camelot.
What a lodging this Nevilton was, to pass one’s days in, to work in, and to love and dream! What enchantments were all around him! What memories! What dumb voices!