Thomas Moran Cliffs of Green River painting

Thomas Moran Cliffs of Green River paintingThomas Moran A Pastoral Landscape paintingThomas Moran View of Venice painting
She doesn’t sound too keen on this play of his.”
“She isn’t. She’s a critical girl. That’s going to be Roger’s headache.”
This was Basil’s version of the marriage and it was substantially accurate. It omits, however, as any narrative of Basil’s was bound to, the consideration that Roger was, in his way, in love with Lucy. Her fortune was a secondary attraction; he lacked the Mediterranean mentality that can regard marriage as an honourable profession, perhaps because he lacked Mediterranean respect for the permanence of the arrangement. At the time when he met Lucy he was earning an ample income without undue exertion; money alone would not have been worth the pains he had taken for her; nor were the pains unique; he habitually went to great inconvenience in pursuit of his girls; even for Trixie he took tepidly to horse-racing for a time; the artistic clothes and the intellectual talk were measures of the respect in which he held Lucy. Her fifty-eight thousand in trustee stock was, no doubt, what made him push his suit to the extreme of but the prime motive and zest of the campaign came from Lucy herself.
To write of someone loved, of oneself loving, above all of oneself being