“I gave four hundred pounds for it,” he was saying. “Of course it’s a regular work of art.”

“Four hundred! H’m! that’s a lot of money!” chimed in Nicholas.

The object alluded to was an elaborate group of statuary in Italian marble, which, placed upon a lofty stand (also of marble), diffused an atmosphere of culture throughout the room. The subsidiary figures, of which there were six, female, nude, and of highly ornate workmanship, were all pointing towards the central figure, also nude, and female, who was pointing at herself; and all this gave the observer a very pleasant sense of her extreme value. Aunt Juley, nearly opposite, had had the greatest difficulty in not looking at it all the evening.

Old Jolyon spoke; it was he who had started the discussion.

“Four hundred fiddlesticks! Don’t tell me you gave four hundred for that ?”

Between the points of his collar Swithin’s chin made the second painful oscillatory movement of the evening.

“Four-hundred-pounds, of English money; not a farthing less. I don’t regret it. It’s not common English⁠—it’s genuine modern Italian!”

Soames raised the corner of his lip in a smile, and looked across at Bosinney. The architect was grinning behind the fumes of his cigarette. Now, indeed, he looked more like a buccaneer.

“There’s a lot of work about it,” remarked James hastily, who was really moved by the size of the group. “It’d sell well at Jobson’s.”

“The poor foreign dey-vil that made it,” went on Swithin, “asked me five hundred⁠—I gave him four. It’s worth eight. Looked half-starved, poor dey-vil!”