she knew them even better than her visitor, who was struck with her critical intelligence and with something large and bold in the movement in her mind. She said things that startled him and that evidently had come to her directly; they were not picked-up phrases, she placed them too well. St. George had been right about her being first-rate, about her not being afraid to gush, not remembering that she must be proud. Suddenly something reminded her, and she said: "I recollect that he did speak of Mrs. St. George to me once. He said, à propos of something or other, that she didn't care for perfection."
"That's a great crime, for an artist's wife," said Paul Overt.
"Yes, poor thing!" and the young lady sighed, with a suggestion of many reflections, some of them mitigating. But she added in a moment, "Ah, perfection, perfection—how one ought to go in for it! I wish I could."
"Every one can, in his way," said Paul Overt.
"In his way, yes; but not in hers. Women are so hampered—so condemned! But it's a kind of dishonour if you don't, when you want to do something, isn't it? " Miss Fancourt pursued, dropping one train in her quickness to take up another, an accident that was common with her. So these two young persons sat discussing high themes in their eclectic drawing-room, in their London season—discussing, with extreme seriousness, the high theme of perfection. And it must be said, in extenuation of this eccentricity, that they were interested in the business; their tone was genuine, their emotion real; they were not posturing for each other or for some one else.
The subject was so wide that they found it necessary to contract it; the perfection to which for the moment
