might have smiled past each other under any circumstances next day and
acknowledged no demand for more than the smile.

The cutlets had come before Hilda's impression was at the back of her
head, her defences withdrawn, her eyes free and content, her elbow on
the table. They had found a portrait-painter.

"He has such an eye," said Alicia, "for the possibilities of character."

"Such an eye that he develops them. I know one man he painted. I suppose
when the man was born he had an embryo soul, but in the meantime he and
everybody else had forgotten about it. All but Salter. Salter re-created
it on the original lines, and brought it up, and gave it a
lodging behind the man's, wrinkles. I saw the picture. It was
fantastic--psychologically."

"Pysychology has a lot to say to portrait-painting, I know," Alicia said.
"Do let him give you a little more. It's only Moselle." She felt
quite direct and simple too in uttering her postulate. Her eyes had a
friendly, unembarrassed look, there was nothing behind them but the joy
of talking intelligently about Salter.

Hilda did not even glance away. She looked at her hostess instead,
with an expression of candour so admirable that one might easily have
mistaken it to be insincere. It was part of her that she could swim
in any current, and it was pleasant enough, for the moment, to swim in
Alicia's. Both the Moselle and the cutlets, moreover, were of excellent
quality.

"It's everything to everything, don't you think? And especially, thank