THE SENSE OF THE PAST
as Ralph put it to himself, their more or less attaching "look" to give out. They had in short those painted eyes for the particular purpose of following their friend as he moved; and one of the things he actually found himself most doing was to circulate in their presence just to see for his amusement how far they would in this fashion go. They all had somehow the art of going further than he had ever perceived such a company—on the walls of a museum for instance—to coincide in going. His amusements, it will be noted, were for a rainy hour simple enough, and a protected observer of some of his proceedings would doubtless have pronounced them pointless to the verge of puerility. This, however, would result partly from the difficulty of his making a lucid plea for what all the while took place within him. It was a ferment deep enough—even while he might superficially have appeared but to be asking the flat framed images what they thought of the question of his admitting Mrs. Midmore. He read into them as he lingered before them the knowledge of her being of their company; they had had on occasion, it would seem, to live with her, they had witnessed her ways and could give him the answer he watched and waited for. Nothing could have been more amusing, if, always, he was amused—than his impression at once that they really gave it and that he yet quite as really couldn't make it out. Portraits of the dead are
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