The Scotchman informed Ann Veronica that your view of beauty necessarily depended on your metaphysical premises, and the young man with the Russell-like hair became anxious to distinguish himself by telling the Japanese student that Western art was symmetrical and Eastern art asymmetrical, and that among the higher organisms the tendency was toward an external symmetry veiling an internal want of balance. He beamed a little as she disappeared into the orchestra room, a cacophony of tuning instruments. “What a fool I am!” he muttered, standing up on the hearthrug, and leaning his elbows upon the broad mantelpiece. She turned to Lucilla, a plea in her face. He was accompanied by a young man of about seven-and-twenty, who carried his easel, set it in its place, laid the canvass upon it, opened the paint box, took out the brushes and palette, and, in short, paid him the most assiduous attention. “Lots of ‘em!” Capes chuckled. He called to the other attendant, who held the torch. She answered in whispers, for there was the white arm of a woman in the next box peeping beyond the partition within a yard of him. Gerald guessed she was biting her tongue on an explosive retort as she eyed him.
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