friendship for the Patons; denounced her frivolity, her insincerity, her egotism, and her wonderful gowns—their simplicity did not deceive Mrs. Jedsley’s keen eye; the price of one would keep the parish in flannel for a year she declared, and, no doubt, include the school feast. Mrs. Jedsley prided herself on her impartial faculty for seeing disagreeable truths clearly and for announcing them unflinchingly. Her fondness for Lady Paton—“poor Lady Paton”—could not blind or silence her. Poor Lady Paton was more than ever effaced, Mrs. Jedsley said; one might have thought that Sir Charles had required as much submission as a woman’s life could well yield, but the daughter had called forth further capabilities.

“The very way in which she says ‘Oh, Camelia!’ is flattering to the girl. Her mother’s half-shocked admiration encourages her in the belief that she is very naughty and very clever; and really while Camelia talks Lady Paton looks like a hare under a bramble.”

The simile hit the mark so nicely that the alarmed retirement of Lady Paton’s attitude was pictorially apparent forthwith. And, “Ah, well!” Mrs. Jedsley added, “What can one expect in the child of such a father! The most gracefully selfish man who ever lived. Charles Paton would have smiled you out of house and home, and left you to sit in the snow, while he warmed himself at your fireplace.”

Indeed this application of the laws of heredity might have induced a certain charitable philosophy on Camelia’s behalf. The love of adventure, of prowess, of power, had shown itself in Charles Paton; but much had been forgiven—even admired—with a sense of breathlessness, in a cloud-compelling younger son (his good looks had been altogether supreme), which, when seen flaunting indecorously in the daughter, was highly unpopular. Charles Paton at a very early age had found the family traditions “devilish dull” (and, indeed, it could not be denied that dull they were); he entered the army, kicked over the traces, and was “wild” with all his might and main. Clievesbury disapproved, but at the same time Clievesbury was dazzled.

Surrounded by this naughty atmosphere, reverberating with racing and betting, dare-devil big-game shooting, and the extreme fashion that is supposed to reverse the “devilish dull” morality of tradition, Charles Paton—like his daughter—returned to Clievesbury, and there fell most magnanimously and becomingly in love with little Miss Fairleigh, the eighth daughter of a country baronet—a softly pink and white maiden—wooed and married her and settled down, after a fashion, to carve out an army career for himself. He carved to good purpose, luck giving him the opportunity. He carried his life as lightly and gallantly as a flag; sought peril, and the tingling excitement of the strangest feats. His reckless bravery won him a knighthood; his fame, his happy good-nature, and extreme good looks, made him a hero wherever he went. Charles Paton’s yellow curls, his smile, the Apollo-like line of his lips, were as well known as his martial exploits.

He was vastly popular, and his little wife in the shadow by his side, looked up, like the others, and adored where they admired. Sir Charles liked a sunny atmosphere, and though the hearthstone flame in its steady commonplace did not count for so much as the wider outdoor effulgence, it was very cosy to come back to, when domesticity was a momentary necessity. He would not have liked a change of temperature, and tolerated the wifely worship very graciously. He was fond of her too; she was very pretty, not clever—(an undesirable quality in a wife)—far more of a help than a hindrance, though how much of a help he perhaps never realized. That broad triumphal road down which the hero marched was swept and garnished by the indefatigable wife. The dustiness and thorniness of daily life were kept from him. Lady Paton packed and paid, and dashed from post to pillar. She was a delicate woman who, petted and made much of, might have allowed herself an occasional headache and a tea-gown existence. The years in India were not easy years; through them all she unwaveringly adored her husband, and in many phases of a varied life showed the steely fibre so often and so unexpectedly displayed by the most delicately inefficient looking women.

Camelia was the fifth child; the others died, two in India and two in England, away from the poor mother. This last one was little more than a baby when ill-health and the death of his brother decided Sir Charles on a return to England. Lady Paton rejoiced in the home-coming. With her pretty baby—a girl, alas! but the estate was unentailed—and her great and glorious husband by her side—the future seemed to open on an unknown happiness. But Lady Paton was to know few compensations. Sir Charles found the rôle of country gentleman very flavorless, and his attempts to evade boredom left his wife more lonely—and too, more conscious of loneliness, than in busier days.

When Camelia was eight her father died. One saw then that Lady Paton was supremely adapted to eternal mourning. As a widow, she reached a black-encompassed repose, a broken-hearted finality of woe. Camelia was the one reason for her life. The child had never to enforce her will, her mother’s devotion yielded to the slightest pressure. Camelia was hardly conscious of ruling, nor the mother of being ruled. As the stronger egoism, Camelia domineered inevitably. She was a gay, kind child, happy in the unfettered expansion of her individuality; she delighted in its exercise, and in all sorts of unconventional acquirements. She read voraciously and loved travel. Lady Paton had by no means reached the end of packing and paying days. Camelia hated beaten tracks; the travelling must be different from other people’s; she managed in a tourist-ridden Europe to find the element of adventurous experience. Camelia was keen on experiences. Lady Paton did not appreciate them properly; but then Lady Paton saw life from no artistic standpoint. She thought undiscovered Greece and Poland more trying than the most trying places in India. The steppes depressed her; she dared not mention wolves, but her mind dwelt dejectedly upon them. She could hardly think of the cooking in certain out-of-the-way corners in Spain without shuddering. But she bore all with apparent placidity, and her helpful qualities won her daughter’s approval just as they had won her husband’s.

There was nothing rude or uncouth in Camelia’s domineering spirit, it was too happy, too spontaneous, too sure of its own right. Even after these two years of London her severest detractors could not accuse her of the grosser forms of vanity, nor of affectation, nor of the ugly thing that goes by the name of “fastness.” Her unerring sense of the best possible taste made “fast” girls seem very tawdry, and her coolly smiling eyes told them that she found them so. Even with the fact of her serene indifference to them growing into the consciousnesses of the people about Clievesbury, they still owned, generously, but perforce, that she was neither strident nor slangy, nor given to any form of posing. The change in Camelia, if change there were, was a mere evolution. She had tasted the joys of a wide effectiveness. She was only twenty-three, and more than once had been told that she was the only woman in London fitted to hold a “salon,” a “salon” that would be a power social, artistic, and political. Authors talked to her about their books, painters about their pictures; her presence at the opera was recorded as having judicial importance; a new pianist was made if he played at one of her musicals. She was a somebody to whom the Clievesburyites were nobodies indeed.

Camelia smiled at her own power. She did not think more highly of herself, but less well of other people, for she measured at once the comparative worth of her own attributes in a world of mediocrity. She saw through the