. . and "there" was always the studio of
Julio.
Argensola began to form the habit of working in the presence of Don
Marcelo. He knew that the resolute soul abominated inactive people, so,
under the contagious influence of dominant will-power, he began several
new pieces. Desnoyers would follow with interest the motions of his
brush and accept all the explanations of the soulful delineator. For
himself, he always preferred the old masters, and in his bargains had
acquired the work of many a dead artist; but the fact that Julio had
thought as his partner did was now enough for the devotee of the antique
and made him admit humbly all the Spaniard's superior theories.
The artist's laborious zeal was always of short duration. After a few
moments, he always found that he preferred to rest on the divan and
converse with his guest.
The first subject, of course, was the absentee. They would repeat
fragments of the letters they had received, and would speak of the past
with the most discreet allusions. The painter described Julio's life
before the war as an existence dedicated completely to art. The father
ignored the inexactitude of such words, and gratefully accepted the lie
as a proof of friendship. Argensola was such a clever comrade, never,
in his loftiest verbal flights, making the slightest reference to Madame
Laurier.
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