G.K. Chesterton 
The Return of Don Quixote 

The end of the longest room at Seawood Abbey was full of light; for the walls were almost made of windows and it projected upon a terraced part of the garden above the park on an almost cloudless morning. Murrel, called Monkey for some reason that everybody had forgotten, and Olive Ashley were taking advantage of the light to occupy themselves with painting; though she was painting on a very small scale and he on a very large one. She was laying out peculiar pigments very carefully, in imitation of the flat jewellery of medieval illumination, for which she had a great enthusiasm, as part of a rather vague notion of a historic past. He, on, he other hand, was highly modern, and was occupied with several pails full of very crude colours and with brushes which reached the stature of brooms. With these he was laying about him on large sheets of lath and canvas, which were to act as scenery in some private theatricals then in preparation. They could not paint, either of them; nor did they imagine that they could. But she was in some sense trying to do so; and he was not.