ll. No! That would be silly. She would tell him that he
really had not the right to ask her to meet such women as Aida and
Alice. Had he no respect for her? Or she would tell him that Aida
had obviously meant to attack her, and that the dance with Lieutenant
Molder was simply a device to enable her to get away quietly and avoid
all scandal in a resort where scandal was intensely deprecated. She
could tell him fifty things, and he would have to accept whatever she
chose to tell him. She was mystically happy in the incomparable marvel
of the miracle, and in her care of the dull, unresponding man. Her
heart yearned thankfully, devotedly, passionately to the Virgin of the
VII Dolours.

In the profound nocturnal silence broken only by the man's slow,
regular breathing, she heard a sudden ring. It was the front-door bell
ringing in the kitchen. The bell rang again and again obstinately.
G.J.'s party was over, then, and he had arrived to make inquiries. She
smiled, and did not move. After a few moments she could hear Marthe
stirring. She sprang up, and then, cunningly considerate, slipped from
under the bed-clothes as noiselessly and as smoothly as a snake, so
that the man should not be disturbed. The two women met in the little
hall, Christine in the immodesty of a lacy and diaphanous garment,
and Marthe in a coarse cotton nightgown covered with a shawl. The bell
rang once more, loudly, close to their ears.

"Are you mad?" Christine whispered with fierceness. "Go back to bed.
Let him ring."

Chapter 26

THE RETURN

It was afternoon in April, 1916. G.J. rang the right bell at the
entrance of the London home of the Lechfords. Lechford House, designed
about 1840 by an Englishman of genius who in this rare instance had
found a patron with the wit to let him alone, was one of the finest
examples of domestic architecture in the West End. Inspired by the
formidable palaces of Rome and Florence, the artist had conceived
a building in the style of the Italian renaissance, but modified,
softened, chastened, civilised, to express the bland and yet haughty
sobriety of the English climate and the English peerage. People
without an eye for the perfect would have correctly described it as
a large plain house in grey stone, of three storeys, with a width
of four windows on either side of its black front door, a jutting
cornice, and rather elaborate chimneys. It was, however, a masterpiece
for the connoisseur, and foreign archi