The lady whose husband had been Mayor of Hartlepool looked at Anna and sniffed. They came teeming distressfully through her aching brain: “A man can kick, his skirts don’t tear; A man scores always, everywhere. He carried a cane and a silk hat with a mourning-band in one gray-gloved hand; his frock-coat and trousers were admirable; his handsome face, his black mustache, his prominent brow conveyed an eager solicitude. But you could have just as easily lost your womb in the Pestilence, and your life. A few steps brought him to the door of the vault in which his mother was immured. The estates must, ere long, revert to Sir Rowland. The eminent painter had handsome, expressive features, an aquiline nose, and a good deal of dignity in his manner. As the movie reached its predictable apex, she clutched his right knee in a careful imitation of fear. Danger, in the form he apprehended, was lurking outside: nor was he destined to enjoy long repose. And instead he found her playing the great lady, and playing it well. “Dear husband,” she murmured. It happened that at the extremest point of Ann Veronica’s social circle from the Widgetts was the family of the Morningside Park horsedealer, a company of extremely dressy and hilarious young women, with one equestrian brother addicted to fancy waistcoats, cigars, and facial spots.
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