“Poor fellow,” said Quixtus. “He has to live rather fatly in imagination so as to make up for the meagreness of his living in reality. It’s only human nature.”
“Bah,” said Clementina, “I believe you’d find human nature in the devil.”
Quixtus smiled one of his sweet smiles.
“I find it in you, Clementina,” he said.
Thus it may be perceived that the sittings were not marked by the usual amenities of the studio. The natures of the two were antagonistic. He shrank from her downrightness; she disdained his ineffectuality. Each bore with the other for the sake of past associations; but each drew a breath of relief when freed from the presence of the other. Although he was a man of wide culture beyond the bounds of his own particular subject, and could talk well in a half-humorous, half-pedantic manner, her influence often kept him as dumb as a mummy. This irritated Clementina still further. She wanted him to talk, to show some animation, so that she could seize upon something to put upon the dismaying canvas. She talked nonsense, in order to stimulate him.
“To live in the past as you do without any regard for the present is as worthless as to go to bed in a darkened room and stay there for the rest of your life. It’s the existence of a mole, not of a man.”
He indicated, with a wave of the hand, a Siennese predella on the wall. “You go to the past.”
“For its lessons,” said Clementina. “Because the Old Masters can teach me things. How on earth do you think I should be able to paint you if it hadn’t been for Velasquez? To say nothing of the æsthetic side. But you only go to the past to satisfy an idle curiosity.”
“Perhaps I do, perhaps I do,” he assented, mildly. “A knowledge of the process by which a prehistoric lady fashioned her petticoat out of skins by means of a flint needle and reindeer sinews would be of no value to Worth or Paquin. But it soothes me personally to contemplate the intimacies of the toilette of the prehistoric lady.”
“I call that abnormal,” said Clementina, “and you ought to be ashamed of yourself.”