As he had told Lady Mary Percy, MacMaster had found the imperative inspiration of his purpose in Treffinger's unfinished picture, the Marriage of Phædra. He had always believed that the key to Treffinger's individuality lay in his singular education; in the Roman de la Rose, in Boccaccio, and Amadis, those works which had literally transcribed themselves upon the blank soul of the London street boy, and through which he had been born into the world of spiritual things. Treffinger had been a man who lived after his imagination; and his mind, his ideals and, as MacMaster believed, even his personal ethics, had to the last been coloured by the trend of his early training. There was in him alike the freshness and spontaneity, the frank brutality and the religious mysticism which lay well back of the fifteenth century. In the Marriage of Phædra MacMaster found the ultimate expression of this spirit, the final word as to Treffinger's point of view.
As in all Treffinger's classical subjects, the conception was wholly mediæval. This Phædra, just turning from her husband and maidens to greet her husband's son, giving him her first fearsome glance from under her half lifted veil,
