THE WINDOWattempt at likeness, she said. For what reasonhad she introduced them then? he asked. Whyindeed?—except that if there, in that corner, itwas bright, here, in this, she felt the need ofdarkness. Simple, obvious, commonplace, as itwas, Mr. Bankes was interested. Mother andchild then—objects of universal veneration, andin this case the mother was famous for her beauty—might be reduced, he pondered, to a purpleshadow without irreverence.

But the picture was not of them, she said. Or,not in his sense. There were other senses[∧]tooin whichone might reverence them. By a shadow here anda light there, for instance. Her tribute took thatform, if, as she vaguely supposed, a picture wasmustbeVW: Line indicates position of insertion. —peter.shillingsburgatribute. A mother and child might be reducedto a shadow without irreverence. A light hererequired a shadow there. He considered. He wasinterested. He took it scientifically in completegood faith. The truth was that all his prejudiceswere on the other side, he explained. THB: Pencil mark similar to those marking galley breaks. he largestpicture in his drawing-room, which painters hadpraised, and valued at a higher price than he hadgiven for it, was of the cherry trees in blossom onthe banks of the Kennet. He had spent his honey-moon on the banks of the Kennet, he said. Lilymust come toandVW: Line indicates position of insertion. —peter.shillingsburgsee that picture, he said. But now—he turned, with his glasses raised to the scientific85
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