to let drop that she had sung four last night to his accompaniment. And hardly had he repeated that the third time, when she appeared at her window, and before all Riseholme called out "Georgie!" with a trill at the end, like a bird shaking its wings. Before all Riseholme!
So in he went. Had Lucia known that, it would quite have wiped the gilt off Lady Ambermere's being refused admittance. In point of fact it did wipe the gilt off when, about an hour afterwards, Georgie went to lunch, because he told her. And if there had been any gilt left about anywhere, that would have vanished, too, when in answer to some rather damaging remark she made about poor Daisy's interests in the love-affairs of other people's servants, she learned that it was of the love-affairs of their superiors that all Riseholme had been talking for at least an hour by now.
Again there was ill-luck about the tableaux on Saturday, for in the Brünnhilde scene, Peppino in his agitation turned the lamp that was to be a sunrise completely out, and Brünnhilde had to hail the midnight, or at any rate a very obscure twilight. Georgie, it is true, with wonderful presence of mind, turned on an electric light when he had finished playing, but it was more like a flash of lightning than a slow, wonderful dawn. The tableaux were over well before 10.45, and though Lucia in answer to the usual pressings, said she would "see about" doing them again, she felt that Mrs Weston and Colonel Boucher, who made their first public appearance as the happy pair, attracted more than their proper share of attention. The only consolation was that the romps that followed at poor Daisy's were a complete fiasco. It was in vain, too, at supper, that she went from table to table, and helped people to lobster salad and champagne, and had not enough chairs, and generally imitated all that had apparently made Olga's party so supreme a success. But on this occasion the recipe for the dish and not the dish itself was served up, and the hunting of the slipper produced no exhilaration in the chase . . .
But far more untoward events followed. Olga came back on the next Monday, and immediately after Lucia received a card for an evening "At Home," with "Music" in the bottom left-hand corner. It happened to be wet that afternoon, and seeing Olga's shut motor coming from the station with four men inside, she leaped to the conclusion that these were four musicians for the music. A second motor followed with luggage, and she quite distinctly saw the unmistakable shape of a 'cello against the window. After that no more guessing was necessary, for it was clear that poor Olga had hired the awful string-quartet from Brinton, that played in the lounge at the Royal Hotel after dinner. The Brinton string-quartet! She had heard them once at a distance and that was quite enough. Lucia shuddered as she thought of those doleful fiddlers. It was indeed strange that Olga, with all the opportunities she had had for hearing good music, should hire the Brinton string-quartet, but, after all, that was entirely of a piece with her views about the gramophone. Perhaps the gramophone would have its share in this musical evening. But she had said she would go: it would be very unkind to Olga to stop away now, for Olga must know by this time her passion for music, so she went. She sincerely hoped that she would not be conducted to the seat of honour, and be obliged to say a few encouraging words to the string-quartet afterwards.
Once again she came rather late, for the music had begun. It had only just begun, for she recognised — who should recognise if not she? — the early bars of a Beethoven quartet. She laid her hand on Peppino's arm.
"Brinton: Beethoven," she said limply.
She slipped into a chair next Daisy Quantock, and sat in her well-known position when listening to music, with her head forward, her chin resting on her hand, and the faraway look in her eyes. Nothing of course could wholly take away the splendour of that glorious composition, and she was pleased that there was no applause between the movements, for she had rather expected that Olga would clap, and interrupt the unity of it all. Occasionally, too, she was agreeably surprised by the Brinton string-quartet: they seemed to have some inklings, though not many. Once she winced very much when a string broke.
Olga (she was rather a restless hostess) came up to her when it was over.
"So glad you could come," she said. "Aren't they divine?"
Lucia gave her most indulgent smile.
"Perfect music! Glorious!" she said. "And they really played it very creditably. But I am a little spoiled, you know, for the last time I heard that it was performed by the Spanish Quartet. I know one ought never to compare, but have you ever heard the Spanish Quartet, Miss Bracely?"
Olga looked at her in surprise.
"But they are the Spanish Quartet!" she said pointing to the players.
Lucia had raised her voice rather as she spoke, for when she spoke on music she spoke for everybody to hear. And a great many people undoubtedly did hear, among whom, of course, was Daisy Quantock. She gave one shrill squeal of laughter, like a slate-pencil, and from that moment granted plenary absolution to poor dear Lucia for all her greed and grabbing with regard to the guru.
But instantly all Olga's good-nature awoke: unwittingly (for her remark that this was the Spanish Quartet had been a mere surprised exclamation), she had made a guest of hers uncomfortable, and must at once do all she could to remedy that.
"It's a shocking room for echoes, this," she said. "Do all of you come up a little nearer, and you will be able to hear the playing so much better. You lose all shade, all fineness here. I came here on purpose to ask you to move up, Mrs Lucas: there are half a dozen chairs unoccupied near the platform."
It was a kindly intention that prompted the speech, but for all real Riseholme practical purposes, quite barren, for many people had heard Lucia's remarks, and Peppino also had already been wincing at the Brinton quartet. In that fell moment the Bolshevists laid bony fingers on the sceptre of her musical autocracy . . . But who would have guessed that Olga would get the Spanish Quartet from London to come down to Riseholme?
Staggering from these blows, she had to undergo an even shrewder stroke yet. Already, in the intelligence department, she had been sadly behind-hand in news, her tableaux-party had been anything but a success, this one little remark of Olga's had shaken her musically, but at any rate up till this moment she had shown herself mistress of the Italian tongue, while to strengthen that she was being very diligent with her dictionary, grammar and Dante's Paradiso. Then as by a bolt out of a clear sky that temple, too, was completely demolished, in the most tragic fashion.
* * *
A few days after the disaster of the Spanish-Brinton Quartet, Olga received a letter from Signor Cortese, the eminent Italian composer, to herald the completion of his opera, Lucretia. Might he come down to Riseholme for a couple of nights, and, figuratively, lay it at her feet, in the hope that she would raise it up, and usher it into the world? All the time he had been writing it, as she knew, he had thought of her in the name part and he would come down today, tomorrow, at a moment's notice by day or night to submit it to her. Olga was delighted and sent an effusive telegram of many sheets, full of congratulation and welcome, for she wanted above all things to "create" the part. So would Signor Cortese come down that very day?
She ran upstairs with the news to her husband.
"My dear, Lucretia is finished," she said, "and that angel practically offers it me. Now what are we to do about dinner tonight? Jacob and Jane are coming, and neither you nor they, I suppose, speak one word of Italian, and you know what mine is, firm and intelligible and operatic but not conversational. What are we to do? He hates talking English . . . Oh, I know, if I can only get Mrs Lucas. They always talk Italian, I believe, at home. I wonder if she can come. She's musical, too, and I shall ask her husband, I think: that'll be a man over, but it will be another Italiano —"
Olga wrote at once to Lucia, mentioning that Cortese was staying with them, but, quite naturally, saying nothing about the usefulness of Peppino and her being able to engage the musician in his own tongue,
