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It transpired that within the Trench home the new tenant had already been established as “Lady Judith,” a name which Theodora afterward explained, with documentary and graphic evidence to substantiate her none too credible word. A long time ago Lary had given her a book of fairy tales, the heroine of which was Lady Judith Dinglewood—beloved of all the bold knights, but destined for the favour of the king’s son. Lary had adorned the title-page with a miniature of the beautiful lady, and had added a colophon showing her in the robes of a royal bride. Theodora could recite every word of the romantic tale before she was old enough to read. She had gone to sleep with that book in her arms, as Sylvia had insisted on taking her best wax doll to bed. The moment she espied the name, Judith Ascott, on the lease that Griffith Ramsay had signed, she decided that her Lady Judith had come true.

It mattered little that the new occupant of the name bore not the slightest resemblance to the two little water colour drawings. Lary could paint a new Lady Judith, now that he knew what she really looked like. It was not his fault that he had made the eyes black. He had to do that, to appease mamma and Sylvia—whose standards of beauty were rigidly fixed. But eyes that could be blue or grey, or flecked with brown, as they were this evening.... How much more interesting than eyes that were always the same colour! The hair, in that new picture which Lary must paint, would be pale chestnut, with golden glints where the light fell on it. And the mouth—the sweetest mouth! She told Lary about it as they went home, through the close dark of a wonderful spring night. Had he noticed Mrs. Ascott’s mouth? He had.

Indian Summer

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