But there is a difference, for all that.  To begin with, Mrs. Anderson is a pleasanter person to live with than Mrs. Dudgeon.  To which Mrs. Dudgeon would at once reply, with reason, that Mrs. Anderson has no children to look after; no poultry, pigs nor cattle; a steady and sufficient income not directly dependent on harvests and prices at fairs; an affectionate husband who is a tower of strength to her:  in short, that life is as easy at the minister’s house as it is hard at the farm.  This is true; but to explain a fact is not to alter it; and however little credit Mrs. Anderson may deserve for making her home happier, she has certainly succeeded in doing it.  The outward and visible signs of her superior social pretensions are a drugget on the floor, a plaster ceiling between the timbers and chairs which, though not upholstered, are stained and polished.  The fine arts are represented by a mezzotint portrait of some Presbyterian divine, a copperplate of Raphael’s St. Paul preaching at Athens, a rococo presentation clock on the mantelshelf, flanked by a couple of miniatures, a pair of crockery dogs with baskets in their mouths, and, at the corners, two large cowrie shells.  A pretty feature of the room is the low wide latticed window, nearly its whole width, with little red curtains running on a rod half way up it to serve as a blind.  There is no sofa; but one of the seats, standing near the press, has a railed back and is long enough to accommodate two people easily.  On the whole, it is rather the sort of room that the nineteenth century has ended in struggling to get back to under the leadership of Mr. Philip Webb and his disciples in domestic architecture, though no genteel clergyman would have tolerated it fifty years ago.

The evening has closed in; and the room is dark except for the cosy firelight and the dim oil lamps seen through the window in the wet street, where there is a quiet, steady, warm, windless downpour of rain.  As the town clock strikes the quarter, Judith comes in with a couple of candles in earthenware candlesticks, and sets them on the table.  Her self-conscious airs of the morning are gone:  she is anxious and frightened.  She goes to the window and peers into the street.  The first thing she sees there is her husband, hurrying here through the rain.  She gives a little gasp of relief, not very far removed from a sob, and turns to the door.  Anderson comes in, wrapped in a very wet cloak.

Judith (running to him).  Oh, here you are at last, at last! (She attempts to embrace him.)

Anderson (keeping her off).  Take care, my love:  I’m wet.  Wait till I get my cloak off. (He places a chair with its back to the fire; hangs his cloak on it to dry; shakes the rain from his hat and puts it on the fender; and at last turns with his hands outstretched to Judith.) Now! (She flies into his arms.) I am not late, am I?  The town clock struck the quarter as I came in at the front door.  And the town clock is always fast.