Mr. Justice Mallory marked the ending of Ellerson v. Ellerson--a happy ending, as it seemed to Lady Hermione's junior counsel. But Hector Brunton thought otherwise. Recently it had seemed to him as though Aliette might relent. Ever since her return from Devonshire he had been conscious of some subtle, incomprehensible change in her. Therefore it piqued his pride to find her, on his return from court, not even vaguely interested in the newspaper reports of his speech--more especially as that speech was quoted almost verbatim under the heading: "K.C. says woman is not man's property." "We ought to have fought the thing out," he told her. "That's what I said to Cavendish." Aliette's face did not betray her, but her heart--the heart which had almost persuaded itself of cure--dropped two telltale beats. "Clever chap, young Cavendish," went on the K.C. "I'd like to have him to dinner one evening." With a thoughtful "Why not take him to the club, Hector?" the K.C.'s wife went upstairs to dress. CHAPTER IV Julia Cavendish was always at home on Saturday afternoons. You used to meet nearly all social sorts and conditions of men and women in that exquisitely tended Bruton Street house: literary folk, financial folk, embassy folk, Anglican priests, politicians, schoolmasters with their wives, young soldiers with their fiancées, old soldiers with their grievances, the "Ritz crowd" (which thinks itself Society), and real Society (which does not need to think about itself at all), intellectual aristocrats and democratic intellectuals--the whole curious "London" which an eclectic woman of means can, if she be so minded, gather about herself by the time she reaches sixty. But the house itself betrayed, to a trained observer, the fact that Ronnie's mother really preferred things to people. Not necessarily expensive things--only occasionally could she afford a real "piece": but pleasant things; beautiful things that became, as it were, part of one's life; things one could feel about the house as though they were people, but people without too many claims on one. Despite which, No. 67a was neither over-large nor over-crowded with possessions. Old prints had space on its panels, old furniture on its floors. Jade idols, Toby mugs, Dresden, Chelsea, and Japanese figures did not jostle one another on its mantelpieces or in its cabinets. Spanish velvets and Venetian brocades forbore to pose as "specimens," but were curtains, cushions, or chair-covers as use demanded. Georgian silver employed itself in a hospitable capacity; Satsuma
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