HE had taken the train, a few days after this, from a station—as well as to a station—selected almost at random; such days, whatever should happen, were numbered, and he had gone forth under the impulse—artless enough, no doubt—to give the whole of one of them to that French ruralism, with its cool special green, into which he had hitherto looked only through the little oblong window of the picture-frame. It had been as yet, for the most part, but a land of fancy for him—the background of fiction, the medium of art, the nursery of letters; practically as distant as Greece, but practically also almost as consecrated. Romance could weave itself, for Strether's sense, out of elements mild enough; and even after what he had, as he felt, lately “been through,” he could thrill a little at the chance of seeing something somewhere that would remind him of a certain small Lambinet that had charmed him, long years before, at a Boston dealer's and that he had, quite absurdly, never forgotten. It had been offered, he remembered, at a price he had been instructed to believe the lowest ever named for a Lambinet, a price he had never felt so poor as on having to recognise, all the same, as beyond a dream of possibility. He had dreamed—had turned and twisted possibilities for an hour: it had been the only adventure of his life in connection with the purchase of a work of art. The adventure, it will be perceived, was modest; but the memory, beyond all reason and by some accident of association, was sweet. The little Lambinet abode with him as the material acquisition that, in all his time, he had most sharply failed of—the particular production that had made him for the moment overstep the modesty of nature. He was quite aware that if he were to see it again he should perhaps have a drop or a shock, and he never found himself wishing that the wheel of time would turn it up again, just as he had seen it in the maroon-coloured, sky-lighted inner shrine of Tremont Street.