Page:All the Year Round - Series 2 - Volume 1.djvu/155

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CONDUCTED BY ""
 * No. 7..
 * SATURDAY, JANUARY 16, 1869.
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stands in Beaufort-square, forming one side of that confessedly aristocratic quarter. The house stands back in melancholy "grounds" of dirty gravel, brown turf, and smutted trees, while the dwarf wall which forms the side of the square, and is indeed a sufficiently huge brick screen, fences off the commonalty, and prevents them from ever catching so much as a glimpse of the Paradise within, save when the great gates are flung open for the entrance or exit of vehicles, or when the porter, so gorgeous and yet so simple, is sunning himself in the calm evening air at the small postern door. The Countess of Hetherington likes this brick screen, and looks upon it as a necessary appanage of her rank. When visitors, having exhausted every topic of conversation possible to their great minds, a feat which is easily performed in the space of five minutes, and beginning to fear the immediate advent of brain softening if not of idiocy, suddenly become possessed with a fresh idea after a lengthened contemplation of the wall in front of them, and with an air of desperation ask whether it does not make the house dull, Lady Hetherington says that, on the contrary, it is the only thing that renders the house habitable. She confesses that, during the time she is compelled to be in London, the sight of hack cabs, and policemen on their beat, and those kind of things, are not absolutely necessary to her existence, and as Sir Charles Dumfunk insists on her rooms facing the west, she is glad that the wall is there to act as a screen. Oh yes, she is perfectly aware that Lord Letterkenney had the screen of Purcell House pulled down and an open Italian façade erected in its place, the picture of which was in the illustrated papers, but as Lady Letterkenney until her marriage had lived in Ireland, and had probably never seen anything human except priests and pigs, the sight of civilised beings was doubtless an agreeable novelty to her. The same circumstances did not exist in her, Lady Hetherington's, case, and she decidedly liked the screen.

The Earl likes the screen also, but he never says anything about it, chiefly because no one ever asks his opinion on any subject. He likes it because it is his, the Earl of Hetherington's, and he likes looking at it as he likes looking at the coronet on his plate, on his carriage panels, and his horses' harness; at his family history as set forth by Burke and Debrett, and at the marginal illustrations of his coat of arms as given in those charming volumes; at his genealogical tree, a mysterious work of art which hangs in the library looking something like an enlarged "sampler" worked by a school-girl, and from the contemplation of which he derives intense delight. It does not take a great deal to fill Lord Hetherington's soul with rapture. Down in Norfolk villages, in the neighbourhood of his ancestral home, and far away in scattered cottages on the side of green Welsh mountains, where the cross-tree rears its inopportune head in the midst of the lovely landscape, and where smoke and coal-dust permeate the soft delicious air, his lordship, as landlord and mine-holder, is spoken of with bated breath by tenants and workmen, and regarded as one of the hardest-headed, tightest-fisted men of business by stewards