Lady Betty Across the Water | Page 5

lamb, and go with your kind little American friends?" Vic broke in, with her head on my shoulder and an arm slipped round my waist.
"Mrs. Ess Kay's neither little nor kind," said I, "but, of course, I'll do anything to help, if only I'm treated like a rational, grown-up human being."
"And so you shall be. I told Mother it would be much better to be frank with you, if you are a Baby. It's too late to explain things now, but if you'll be sweet to Mrs. Ess Kay, and agree with everything everybody says about your trip, when we come up to bed and Mother's door's shut, I'll make a clean breast and show you exactly how matters stand."
With this, we separated, for we could hear Mrs. Ess Kay's voice in the corridor, talking to Sally Woodburn on the way downstairs. Her voice is never difficult to hear; rather the other way; and Miss Woodburn's soft little drawl following it, reminded me of a spoonful of Devonshire cream after a bunch of currants.
Mother was with them both in the oak drawing-room when Vic and I got down, and I found myself staring at Mrs. Ess Kay with a new kind of criticism in my mind; indeed, it hadn't occurred to me before to criticise at all. I'd only felt that I didn't want to come any closer to her. Now I was to come much closer, it seemed, and I looked at the glittering lady, wondering how it would feel to be so close--wondering what she herself was.
Outside, she's more like the biggest and most splendid dressmaker's model ever made for a Paris show-window than anything else I can think of; at least, she is like that from under her chin down to the tips of her toes. I say under her chin, for that feature, as well as all the others above it, are miles removed from a pretty, wax lady in a show-window.
I never supposed till I met Mrs. Stuyvesant-Knox, that a live woman could have a figure exactly like the fashion-plates, swelling like a tidal wave above an hourglass of a waist, and retreating far, far into the dim perspective below it, then suddenly bulging out behind like a round, magnificent knoll, after a deep curve inward under the shoulders. But Mrs. Stuyvesant-Knox's figure does all these things even when she stands still, and a great many more when she walks, which act she accomplishes in a grand, sweepy kind of a way, with her head a little thrown back, as if she wants everybody to know that she is tremendously important in the scheme, not only of the world, but of the universe.
Yet in spite of all, in the end it's her face which impresses you even more than her figure--which is a real triumph, as the figure is so elaborate and successful. On top of her head is a quite little coil of hair that lifts itself, and spirals up, like a giant snail-shell. A dagger keeps it in place, and looks as if the point plunged into Mrs. Ess Kay's brain, though I suppose it doesn't. Over the forehead is a noble roll which has the effect of a breaker just about to fall into surf, but never falling. It's a black breaker, and the straight, thick eyebrows an inch below it are black too; so are the short eyelashes, also thick and straight, like a stiff fringe, but the eyes are grey--grey as glass, though not transparent. Sometimes they seem almost white, with just a tiny bead of black for the pupil. I never saw anything so hard (except the glass marbles I used to play with): and they look at most people as if something behind them were doing a mental sum in arithmetic, for the Something's own advantage. They don't look at Mother in that way; no eyes in the world would dare; but I'm talking about ordinary people, who are not tall white arum lilies, with the air of having grown in kings' gardens.
Mrs. Stuyvesant-Knox's nose is well-shaped and rather large; so is her mouth, with a "thin red line" of lips; but somehow it's the chin--the feature you simply take for granted and hardly remember on most faces--which dominates the rest. It comes rounding out under her lips, making them seem to recede, though they don't really; and it's square, with an effect of the skin being laid on over some perfectly hard material, like marble, or the same ivory her teeth are made of. Besides all this,--as if it weren't enough--she's a widow; one of those women who look as if they had been born widows; anyway, I'm certain that Mrs. Stuyvesant-Knox can never have been a child.
Sally Woodburn's chin is rather full, too. I wonder if,