swathed chandeliers. We went about seeing beautiful things, accepting beauty on every hand, and taking it for granted that all was well with ourselves and the world. It was ten days or a fortnight before I became fretful and anxious for action; a long tranquillity for such a temperament as mine.
Our pleasures were curiously impersonal, a succession of shared aesthetic appreciation threads all that time. Our honeymoon was no exultant coming together, no mutual shout of “YOU!” We were almost shy with one another, and felt the relief of even a picture to help us out. It was entirely in my conception of things that I should be very watchful not to shock or distress Margaret or press the sensuous note. Our love-making had much of the tepid smoothness of the lagoons. We talked in delicate innuendo of what should be glorious freedoms. Margaret had missed Verona and Venice in her previous Italian journey—fear of the mosquito had driven her mother across Italy to the westward route—and now she could fill up her gaps and see the Titians and Paul Veroneses she already knew in colourless photographs, the Carpaccios, (the St. George series delighted her beyond measure,) the Basaitis and that great statue of Bartolomeo Colleoni that Ruskin praised.
But since I am not a man to look at pictures and architectural effects day after day, I did watch Margaret very closely and store a thousand memories of her. I can see her now, her long body drooping a little forward, her sweet face upraised to some discovered familiar masterpiece and shining with a delicate enthusiasm. I can hear again the soft cadences of her voice murmuring commonplace comments, for she had no gift of expressing the shapeless satisfaction these things gave her.
Margaret, I perceived, was a cultivated person, the first cultivated person with whom I had ever come into close contact. She was cultivated and moral, and I, I now realise, was never either of these things. She was passive, and I am active. She did not simply and naturally look for beauty