trade. But the instant we begin to think about success and the effect of our work—to play with one eye on the gallery—we lose power and touch and everything else. At least that's how I have found it. Instead of being quiet and giving every power you possess to your work, you're fretting over something which you can neither help nor hinder by a minute. See?'
'It's so easy for you to talk in that way. People like what you do. Don't you ever think about the gallery?'
'Much too often; but I'm always punished for it by loss of powder. It's as simple as the Rule of Three. If we make light of our work by using it for our own ends, our work will make light of us, and, as we're the weaker, we shall suffer.'
'I don't treat my work lightly. You know that it's everything to me.'
'Of course; but, whether you realise it or not, you give two strokes for yourself to one for your work. It isn't your fault, darling. I do exactly the same thing, and know that I'm doing it. Most of the French schools, and all the schools here, drive the students to work for their own credit, and for the sake of their pride. I was told that all the world was interested in my work, and everybody at Kami's talked turpentine, and I honestly believed
