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He had never mentioned his wife. Flamby first saw Yvonne in the cloisteresque passage into which Chauvin's studio opened, for the studio was one of a set built around three sides of a small open courtyard in the centre of which was a marble faun. Orlando James, the fashionable portrait painter, occupied the studio next to Chauvin. Flamby had been rather anxious to meet James because Chauvin had warned her to avoid him, and one afternoon as she was leaving for home, she came out into the passage at the same moment that a man and a woman passed the studio door on their way to the gate. The woman walked on without glancing aside, but the man covertly looked back, bestowing a bold glance of his large brown eyes upon Flamby. It was Orlando James. She recognised him immediately, tall, fair, arrogantly handsome and wearing his soft hat
It was a low, rambling building, bespeaking the monastery in some of its severe outlines and showing a succession of cloisteresque arches on the left, terminated by a chapel beyond which rose the ancient tower visible from the inn-window a wonderful example of Saxon architecture, and closely resembling that at Earl's Barton.
Yet, right, left, above and below, from the cloisteresque shadows on the east of the court to the blank wall of the building on the west, no living thing stirred. Quietly, I reclosed the window, and stood by it for a moment listening. Nothing occurred, and I returned to the writing-table, puzzled but in no sense alarmed.
From my post in the chair by the window I could see two sides of the court below; that immediately opposite, with the entrance to some chambers situated there, and that on the right, with the cloisteresque arches beyond which lay a maze of old-world passages and stairs whereby one who knew the tortuous navigation might come ultimately to the Embankment.
Robert Cairn looked out across the quadrangle. The moon had just arisen, and it softened the beauty of the old college buildings, mellowed the harshness of time, casting shadow pools beneath the cloisteresque arches to the west and setting out the ivy in stronger relief upon the ancient walls.
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