During his last year at St. Luke's Philip had to work hard. He was contented with life. He found it very comfortable to be heart-free and to have enough money for his needs. He had heard people speak contemptuously of money: he wondered if they had ever tried to do without it. He knew that the lack made a man petty, mean, grasping; it distorted his character and caused him to view the world from a vulgar angle; when you had to consider every penny, money became of grotesque importance: you needed a competency to rate it at its proper value. He lived a solitary life, seeing no one except the Athelnys, but he was not lonely; he busied himself with plans for the future, and sometimes he thought of the past. His recollection dwelt now and then on old friends, but he made no effort to see them. He would have liked to know what was become of Norah Nesbit; she was Norah something else now, but he could not remember the name of the man she was going to marry; he was glad to have known her: she was a good and a brave soul. One evening about half past eleven he saw Lawson, walking along Piccadilly; he was in evening clothes and might be supposed to be coming back from a theatre. Philip gave way to a sudden impulse and quickly turned down a side street. He had not seen him for two years and felt that he could not now take up again the interrupted friendship. He and Lawson had nothing more to say to one another. Philip was no longer interested in art; it seemed to him that he was able to enjoy beauty with greater force than when he was a boy; but art appeared to him unimportant. He was occupied with the forming of a pattern out of the manifold chaos of life, and the materials with which he worked seemed to make preoccupation with pigments and words very trivial. Lawson had served his turn. Philip's friendship with him had been a motive in the design he was elaborating: it was merely sentimental to ignore the fact that the painter was of no further interest to him.

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