It was not till three years later that, in the course of a few weeks’ idling on the Riviera, it suddenly occurred to me to wonder why Gisburn had given up his painting.  On reflection, it really was a tempting problem.  To accuse his wife would have been too easy—­his fair sitters had been denied the solace of saying that Mrs. Gisburn had “dragged him down.”  For Mrs. Gisburn—­as such—­had not existed till nearly a year after Jack’s resolve had been taken.  It might be that he had married her—­since he liked his ease—­because he didn’t want to go on painting; but it would have been hard to prove that he had given up his painting because he had married her.

Of course, if she had not dragged him down, she had equally, as Miss Croft contended, failed to “lift him up”—­she had not led him back to the easel.  To put the brush into his hand again—­what a vocation for a wife!  But Mrs. Gisburn appeared to have disdained it—­and I felt it might be interesting to find out why.

The desultory life of the Riviera lends itself to such purely academic speculations; and having, on my way to Monte Carlo, caught a glimpse of Jack’s balustraded terraces between the pines, I had myself borne thither the next day.

I found the couple at tea beneath their palm-trees; and Mrs. Gisburn’s welcome was so genial that, in the ensuing weeks, I claimed it frequently.  It was not that my hostess was “interesting”:  on that point I could have given Miss Croft the fullest reassurance.  It was just because she was not interesting—­if I may be pardoned the bull—­that I found her so.  For Jack, all his life, had been surrounded by interesting women:  they had fostered his art, it had been reared in the hot-house of their adulation.  And it was therefore instructive to note what effect the “deadening atmosphere of mediocrity” (I quote Miss Croft) was having on him.

I have mentioned that Mrs. Gisburn was rich; and it was immediately perceptible that her husband was extracting from this circumstance a delicate but substantial satisfaction.  It is, as a rule, the people who scorn money who get most out of it; and Jack’s elegant disdain of his wife’s big balance enabled him, with an appearance of perfect good-breeding, to transmute it into objects of art and luxury.  To the latter, I must add, he remained relatively indifferent; but he was buying Renaissance bronzes and eighteenth-century pictures with a discrimination that bespoke the amplest resources.

“Money’s only excuse is to put beauty into circulation,” was one of the axioms he laid down across the Sevres and silver of an exquisitely appointed luncheon-table, when, on a later day, I had again run over from Monte Carlo; and Mrs. Gisburn, beaming on him, added for my enlightenment:  “Jack is so morbidly sensitive to every form of beauty.”

Poor Jack!  It had always been his fate to have women say such things of him:  the fact should be set down in extenuation.  What struck me now was that, for the first time, he resented the tone.  I had seen him, so often, basking under similar tributes—­was it the conjugal note that robbed them of their savour?  No—­for, oddly enough, it became apparent that he was fond of Mrs. Gisburn—­fond enough not to see her absurdity.  It was his own absurdity he seemed to be wincing under—­his own attitude as an object for garlands and incense.