Owen's face, at this, showed a reviving dread, the fear of some darksome process of her mind. "If you speak for yourself I can understand, but why is it hideous for me?" Fleda turned away. "Thank you."!

All this was exciting, but Fleda's spirit dropped, at bedtime, in the chamber embellished for her pleasure, where she found several of the objects that in her earlier room she had most admired. These had been reinforced by other pieces from other rooms, so that the quiet air of it was a harmony without a break, the finished picture of a maiden's bower. It was the sweetest Louis Seize, all assorted and combined—old chastened, figured, faded France. Fleda was impressed anew with her friend's genius for composition. She could say to herself that no girl in England, that night, went to rest with so picked a guard; but there was no joy for her in her privilege, no sleep even for the tired hours that made the place, in the embers of the fire and the winter dawn, look gray, somehow, and loveless. She couldn't care for such things when they came to her in such ways; there was a wrong about them all that turned them to ugliness. In the watches of the night she saw Poynton dishonored; she had cared for it as a happy whole, she reasoned, and the parts of it now around her seemed to suffer like chopped limbs. Before going to bed she had walked about with Mrs. Gereth and seen at whose expense the whole house had been furnished. At poor Owen's, from top to bottom—there wasn't a chair he hadn't sat upon. The maiden aunt had been exterminated—no trace of her to tell her tale. Fleda tried to think of some of the things at Poynton still unappropriated, but her memory was a blank about them, and in trying to focus the old combinations she saw again nothing but gaps and scars, a vacancy that gathered at moments into something worse. This concrete image was her greatest trouble, for it was Owen Gereth's face, his sad, strange eyes, fixed upon her now as they had never been. They stared at her out of the darkness, and their expression was more than she could bear: it seemed to say that he was in pain and that it was somehow her fault. He had looked to her to help him, and this was what her help had been. He had done her the honor to ask her to exert herself in his interest, confiding to her a task of difficulty, but of the highest delicacy. Hadn't that been exactly the sort of service she longed to render him? Well, her way of rendering it had been simply to betray him and hand him over to his enemy. Shame, pity, resentment oppressed her in turn; in the last of these feelings the others were quickly submerged. Mrs. Gereth had imprisoned her in that torment of taste; but it was clear to her for an hour at least that she might hate Mrs. Gereth. "Everything."

"Oh dear, yes!" said Owen. "I certainly didn't want the rubbish, if that's what you mean." Mrs. Gereth, on the sofa, followed the direction of her companion's eyes; with the light of her satisfaction still in her face, she slowly rubbed her large, handsome hands. Wherever she was, she was herself the great piece in the gallery. It was the first Fleda had heard of there being "rubbish" at Poynton, but she didn't for the moment take up this insincerity; she only, from where she stood in the room, called out, one after the other, as if she had had a list in her hand, the pieces that in the great house had been scattered and that now, if they had a fault, were too much like a minuet danced on a hearth-rug. She knew them each, in every chink and charm—knew them by the personal name their distinctive sign or story had given them; and a second time she felt how, against her intention, this uttered knowledge struck her hostess as so much free approval. Mrs. Gereth was never indifferent to approval, and there was nothing she could so love you for as for doing justice to her deep morality. There was a particular gleam in her eyes when Fleda exclaimed at last, dazzled by the display: "And even the Maltese cross!" That description, though technically incorrect, had always been applied, at Poynton, to a small but marvelous crucifix of ivory, a masterpiece of delicacy, of expression, and of the great Spanish period, the existence and precarious accessibility of which she had heard of at Malta, years before, by an odd and romantic chance—a clue followed through mazes of secrecy till the treasure was at last unearthed. "Well, I am, and I'm the person most concerned. Of course I didn't use just those words: I was perfectly civil, quite as civil as she. But I told her I didn't consider she had a right to put me any such question. I said I wasn't sure that even Mona had, with the extraordinary line, you know, that Mona has taken. At any rate the whole thing, the way I put it, was between Mona and me; and between Mona and me, if she didn't mind, it would just have to remain."