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“Is he quiet?” asked the artist, as a young bull with a curly red coat came inquiringly towards them.

“He’s playful at times,” said Tom, leaving his half-brother to wonder whether the bull’s ideas of play were of the catch-as-catch- can order. Laurence made one or two perfunctory comments on the animal’s appearance and asked a question or so as to his age and such-like details; then he coolly turned the talk into another channel.

“Do you remember the picture I showed you at Taunton?” he asked.

“Yes,” grunted Tom; “a white-faced bull standing in some slush. Don’t admire those Herefords much myself; bulky-looking brutes, don’t seem to have much life in them. Daresay they’re easier to paint that way; now, this young beggar is on the move all the time, aren’t you, Fairy?”

“I’ve sold that picture,” said Laurence, with considerable complacency in his voice.

“Have you?” said Tom; “glad to hear it, I’m sure. Hope you’re pleased with what you’ve got for it.”

“I got three hundred pounds for it,” said Laurence.

Tom turned towards him with a slowly rising flush of anger in his face. Three hundred pounds! Under the most favourable market conditions that he could imagine his prized Clover Fairy would hardly fetch a hundred, yet here was a piece of varnished canvas, painted by his half-brother, selling for three times that sum. It was a cruel insult that went home with all the more force because it emphasised the triumph of the patronising, self-satisfied Laurence. The young farmer had meant to put his relative just a little out of conceit with himself by displaying the jewel of his possessions, and now the tables were turned, and his valued beast was made to look cheap and insignificant beside the price paid for a mere picture. It was so monstrously unjust; the painting would never be anything more than a dexterous piece of counterfeit life, while Clover Fairy was the real thing, a monarch in his little world, a personality in the countryside. After he was dead, even, he would still be something of a personality; his descendants would graze in those valley meadows and hillside pastures, they would fill stall and byre and milking-shed, their good red coats would speckle the landscape and crowd the market-place; men would note a promising heifer or a well-proportioned steer, and say: “Ah, that one comes of good old Clover Fairy’s stock.” All that time the picture would be hanging, lifeless and unchanging, beneath its dust and varnish, a chattel that ceased to mean anything if you chose to turn it with its back to the wall. These thoughts chased themselves angrily through Tom Yorkfield’s mind, but he could not put them into words. When he gave tongue to his feelings he put matters bluntly and harshly.

“Some soft-witted fools may like to throw away three hundred pounds on a bit of paintwork; can’t say as I envy them their taste. I’d rather have the real thing than a picture of it.”

He nodded towards the young bull, that was alternately staring at them with nose held high and lowering its horns with a half-playful, half-impatient shake of the head.

Laurence laughed a laugh of irritating, indulgent amusement.

“I don’t think the purchaser of my bit of paintwork, as you call it, need worry about having thrown his money away. As I get to be better known and recognised my pictures will go up in value. That particular one will probably fetch four hundred in a sale-room five or six years hence; pictures aren’t a bad investment if you know enough to pick out the work of the right men. Now you can’t say your precious bull is going to get more valuable the longer you keep him; he’ll have his little day, and then, if you go on keeping him, he’ll come down at last to a few shillingsworth of hoofs and hide, just at a time, perhaps, when my bull is being bought for a big sum for some important picture gallery.”

It was too much. The united force of truth and slander and insult put over heavy a strain on Tom Yorkfield’s powers of restraint. In his right hand he held a useful oak cudgel, with his left he made a grab at the loose collar of Laurence’s canary-coloured silk shirt. Laurence was not a fighting man; the fear of physical violence threw him off his balance as completely as overmastering indignation had thrown Tom off his, and thus it came to pass that Clover Fairy was regaled with the unprecedented sight of a human being scudding and squawking across the enclosure, like the hen that would persist in trying to establish a nesting-place in the manger. In another crowded happy moment the bull was trying to jerk Laurence over his left shoulder, to prod him in the ribs while still in the air, and to kneel on him when he reached the ground. It was only the vigorous intervention of Tom that induced him to relinquish the last item of his programme.

Tom devotedly and ungrudgingly nursed his half brother to a complete recovery from his injuries, which consisted of nothing more serious than a dislocated shoulder, a broken rib or two, and a little nervous prostration. After all, there was no further occasion for rancour in the young farmer’s mind; Laurence’s bull might sell for three hundred, or for six hundred, and be admired by thousands in some big picture gallery, but it would never toss a man over one shoulder and catch him a jab in the ribs before he had fallen on the other side. That was Clover Fairy’s noteworthy achievement, which could never be taken away from him.

Laurence continues to be popular as an animal artist, but his subjects are always kittens or fawns or lambkins–never bulls.