"If you were in my place would you chuck the whole thing?"

"What do you mean?"

"I wonder if it's worth while being a second-rate painter. You see, in other things, if you're a doctor or if you're in business, it doesn't matter so much if you're mediocre. You make a living and you get along. But what is the good of turning out second-rate pictures?"

Lawson was fond of Philip and, as soon as he thought he was seriously distressed by the refusal of his picture, he set himself to console him. It was notorious that the Salon had refused pictures which were afterwards famous; it was the first time Philip had sent, and he must expect a rebuff; Flanagan's success was explicable, his picture was showy and superficial: it was just the sort of thing a languid jury would see merit in. Philip grew impatient; it was humiliating that Lawson should think him capable of being seriously disturbed by so trivial a calamity and would not realise that his dejection was due to a deep-seated distrust of his powers.

Of late Clutton had withdrawn himself somewhat from the group who took their meals at Gravier's, and lived very much by himself. Flanagan said he was in love with a girl, but Clutton's austere countenance did not suggest passion; and Philip thought it more probable that he separated himself from his friends so that he might grow clear with the new ideas which were in him. But that evening, when the others had left the restaurant to go to a play and Philip was sitting alone, Clutton came in and ordered dinner. They began to talk, and finding Clutton more loquacious and less sardonic than usual, Philip determined to take advantage of his good humour.

"I say I wish you'd come and look at my picture," he said. "I'd like to know what you think of it."

"No, I won't do that."

"Why not?" asked Philip, reddening.

The request was one which they all made of one another, and no one ever thought of refusing. Clutton shrugged his shoulders.

"People ask you for criticism, but they only want praise. Besides, what's the good of criticism? What does it matter if your picture is good or bad?"

"It matters to me."

"No. The only reason that one paints is that one can't help it. It's a function like any of the other functions of the body, only comparatively few people have got it. One paints for oneself: otherwise one would commit suicide. Just think of it, you spend God knows how long trying to get something on to canvas, putting the sweat of your soul into it, and what is the result? Ten to one it will be refused at the Salon; if it's accepted, people glance at it for ten seconds as they pass; if you're lucky some ignorant fool will buy it and put it on his walls and look at it as little as he looks at his dining-room table. Criticism has nothing to do with the artist. It judges objectively, but the objective doesn't concern the artist."

Clutton put his hands over his eyes so that he might concentrate his mind on what he wanted to say.

"The artist gets a peculiar sensation from something he sees, and is impelled to express it and, he doesn't know why, he can only express his feeling by lines and colours. It's like a musician; he'll read a line or two, and a certain combination of notes presents itself to him: he doesn't know why such and such words call forth in him such and such notes; they just do. And I'll tell you another reason why criticism is meaningless: a great painter forces the world to see nature as he sees it; but in the next generation another painter sees the world in another way, and then the public judges him not by himself but by his predecessor. So the Barbizon people taught our fathers to look at trees in a certain manner, and when Monet came along and painted differently, people said: But trees aren't like that. It never struck them that trees are exactly how a painter chooses to see them. We paint from within outwards--if we force our vision on the world it calls us great painters; if we don't it ignores us; but we are the same. We don't attach any meaning to greatness or to smallness. What happens to our work afterwards is unimportant; we have got all we could out of it while we were doing it."

There was a pause while Clutton with voracious appetite devoured the food that was set before him. Philip, smoking a cheap cigar, observed him closely. The ruggedness of the head, which looked as though it were carved from a stone refractory to the sculptor's chisel, the rough mane of dark hair, the great nose, and the massive bones of the jaw, suggested a man of strength; and yet Philip wondered whether perhaps the mask concealed a strange weakness. Clutton's refusal to show his work might be sheer vanity: he could not bear the thought of anyone's criticism, and he would not expose himself to the chance of a refusal from the Salon; he wanted to be received as a master and would not risk comparisons with other work which might force him to diminish his own opinion of himself. During the eighteen months Philip had known him Clutton had grown more harsh and bitter; though he would not come out into the open and compete with his fellows, he was indignant with the facile success of those who did. He had no patience with Lawson, and the pair were no longer on the intimate terms upon which they had been when Philip first knew them.

"Lawson's all right," he said contemptuously, "he'll go back to England, become a fashionable portrait painter, earn ten thousand a year and be an A. R. A. before he's forty. Portraits done by hand for the nobility and gentry!"

Philip, too, looked into the future, and he saw Clutton in twenty years, bitter, lonely, savage, and unknown; still in Paris, for the life there had got into his bones, ruling a small cenacle with a savage tongue, at war with himself and the world, producing little in his increasing passion for a perfection he could not reach; and perhaps sinking at last into drunkenness. Of late Philip had been captivated by an idea that since one had only one life it was important to make a success of it, but he did not count success by the acquiring of money or the achieving of fame; he did not quite know yet what he meant by it, perhaps variety of experience and the making the most of his abilities. It was plain anyway that the life which Clutton seemed destined to was failure. Its only justification would be the painting of imperishable masterpieces. He recollected Cronshaw's whimsical metaphor of the Persian carpet; he had thought of it often; but Cronshaw with his faun-like humour had refused to make his meaning clear: he repeated that it had none unless one discovered it for oneself. It was this desire to make a success of life which was at the bottom of Philip's uncertainty about continuing his artistic career. But Clutton began to talk again.

"D'you remember my telling you about that chap I met in Brittany? I saw him the other day here. He's just off to Tahiti. He was broke to the world. He was a brasseur d'affaires, a stockbroker I suppose you call it in English; and he had a wife and family, and he was earning a large income. He chucked it all to become a painter. He just went off and settled down in Brittany and began to paint. He hadn't got any money and did the next best thing to starving."

"And what about his wife and family?" asked Philip.

"Oh, he dropped them. He left them to starve on their own account."

"It sounds a pretty low-down thing to do."

"Oh, my dear fellow, if you want to be a gentleman you must give up being an artist. They've got nothing to do with one another. You hear of men painting pot-boilers to keep an aged mother--well, it shows they're excellent sons, but it's no excuse for bad work. They're only tradesmen. An artist would let his mother go to the workhouse. There's a writer I know over here who told me that his wife died in childbirth. He was in love with her and he was mad with grief, but as he sat at the bedside watching her die he found himself making mental notes of how she looked and what she said and the things he was feeling. Gentlemanly, wasn't it?"