CHAPTER IV.
EFFIE.
he two girls remained quite still for a few minutes, looking curiously at one another. Mrs. Cossart, who had brought Sheila up to her daughter’s bright, pretty sitting-room, had been obliged to leave them after speaking a few phrases of introduction, as there were visitors awaiting her in the drawing-room.
Sheila saw, half reclined upon a couch beside the fire, a girl with a pinched face, dark hair and brown eyes, which looked out rather sharply through a pair of “nippers.” The girl was thin, but she did not look exactly ill. There was something a little defiant in her air as she raised herself and spoke to her visitor.
“So you are Sheila? Come here and sit down, and let us talk. I have heard a lot about you, and I suppose you’ve heard plenty about me. I wonder what kind of things the Tom Cossarts say about me in private. I always think they call me a humbug.”
“No, they don’t,” answered Sheila quickly, as she came forward, “I think they are kind people. They were all very kind to me.”
“I suppose you would have liked to stay there altogether. You don’t think it will be so amusing, shut up here with me.”
“I can’t tell till I try,” answered Sheila smiling, rather puzzled by Effie’s sharp speeches. “I liked being in River Street pretty well. But—well—it didn’t seem much like home. This house is much nicer. I think if you like having me, I shall like being here. I hope you will like me, Effie.”
Sheila spoke simply and impulsively, and Effie smiled, and her face looked pleasanter than it had done as yet.
“Oh, I daresay we shall get on. I’m not so cross as I expect you’ve been told. Once I was just cram full of fun, but being ill takes the life out of you. Sometimes I hate everything and everybody, but then I get better, and things seem different. Have you ever been ill? Do you know what it’s like?”
“Not much,” answered Sheila, “I’m very strong. Oscar has been ill oftener than I. Tell me about yourself, Effie? I want to know everything. Your mother wants me to be a sort of sister to you. Sisters ought to know everything about each other.”
Effie, nothing loath, began a long history of herself. In a few days’ time Sheila had discovered that the way to keep her most satisfied and entertained was to let her talk about herself. Poor child, it was scarcely her own fault. Her mother never tired of asking her about her every symptom, and listening to her accounts of how every hour had been passed. She talked almost ceaselessly of Effie to everybody who would listen. She had almost lost her identity in that of her last surviving child. It seemed to Sheila that poor Effie had had enough doctors and enough experiments in treatment tried upon her to kill anybody, and when she ventured to say as much to Effie herself, the girl at once and cordially agreed.
“I hate the very sight of them. I feel as though I’d never have another near me. I mean not to care now whether I get better or not. The harder I try, the worse I am. I’m just not going to care about anything again!”
That was decidedly one of Effie’s moods—a sort of defiance of everything and everybody. At other times she would be gentler, sometimes she was depressed. Then she would have a spell of high spirits, in which she often overdid herself, and brought on one of her attacks of breathlessness and oppression.
Sheila looked on and listened and wondered. Sometimes she was quite fond of Effie, sorry for her, and eager to do anything she could. At others, again, she felt a decided longing to shake her, and grew fairly out of patience at the way she had of bringing every subject started round to herself again. Others had noticed this defect in Effie. Her cousins had named it in Sheila’s hearing, but they had never spoken of it to the girl herself, and Sheila never meant to; but one day almost in spite of herself, the words sprang to her lips.
“Effie, do you ever think about anything or anybody but yourself? I do think you’d be so much better if you would. I don’t know if you know it or care; but you talk about yourself from morning to night. It does get so tiresome, and I’m sure it’s bad for you!”
Effie stopped short in what she was about to say, and stared at Sheila hard. The girl coloured under the sharp gaze. Sheila was very placable by nature, and hated anybody to be angry with her; but she had not learned the lesson yet of thinking before she spoke.
“I beg your pardon if I vexed you,” she said; “but——”
“That’ll do,” said Effie shortly; “I don’t want to hear any more! You can go now! You’d better take that ride you’ve been wanting to so long! I don’t want anybody with me who thinks it tiresome to talk to me!”
Sheila escaped from the room, half inclined to laugh, and half to cry. Shamrock had arrived at Cossart Place two days ago, and she was eager to have a gallop upon her; but Effie had not been well, and she had not liked to leave her. She fled away now to her own room, and put on her habit. Her cheeks were glowing with the excitement of her little quarrel with Effie, and with the prospect of her ride upon her favourite. She thought most likely she would get a scolding from her aunt on Effie’s account; but, after all, was it not a good thing for somebody to warn Effie of her besetting weakness? Sheila was sure she did not want to be selfish. She had many kind thoughts and plans for other people. Only she had got so into the way of being the first consideration with everybody about her. It was enough to spoil anybody.
When she was dressed, Sheila slipped down the almost unused staircase of the old part of the house; and made her way direct to the stable-yard. Sheila had obtained her wished-for quarters, and had two pleasant rooms of her own in the block of old building, which she liked so much better than the great modern addition, where the reception-rooms were, and where the family had their quarters. Her belongings, and a good many of Oscar’s, were stored here, and made her rooms home-like and bright. When Oscar came to see her, they felt almost in a separate house of their own. On the whole, Sheila was very pleased with her new life. She was kindly treated, and things were all smooth and easy. So long as she pleased Effie, that was all anybody expected of her; and so far Effie had seemed to like her companionship. But Sheila began to wonder how things would be if she got into Effie’s black books. She fancied that her Aunt Cossart could be pretty severe to anybody who offended or distressed her darling.
However, what was done could not be undone, and Sheila’s nature was hopeful and elastic. She ran to the coachman, and begged him to have Shamrock saddled for her, and laughed and shook her head when he suggested that a groom should attend her.
“Oh, no, I always rode alone at home, if my father or Oscar could not come with me,” she answered; “Shamrock is perfectly safe. I want to explore the country. Some of the roads look quite pretty.”
She was soon mounted on her favourite, who expressed pleasure at having her pretty mistress on her back once more. Sheila was equally delighted, and rode gaily along the lanes, the sunshine throwing dancing lights and shadows across her path. She followed one winding lane after another, feeling joyfully the freedom of her independence, after being so many days shut up in the house, with only an occasional run into the garden; and she could hardly regret the little tiff with Effie which had brought it about.
“I’ll ride down to the works and see Oscar!” cried Sheila, as she paused upon the brow of a little hill, and saw the town and the chimneys lying like a map before her. “I should like to see him at his treadmill, poor boy; but he seems to like the work pretty well. He is a good boy, and never complains. I should, I know, if I were in his shoes.”
Sheila’s plan was put into speedy execution, and before long she had ridden into the enclosure surrounded by her uncle’s buildings, and had asked for her brother.
Oscar came out to her with a smile on his face but surprise in his eyes.
“Are you all alone, Sheila? How did you get leave to come?”
“I didn’t ask. Why should I? I just came. Effie was cross, and sent me away, and I got Shamrock saddled, and here I am!”
“Oh, but I think you should have asked Aunt Cossart first! They say she is very nervous about girls riding, and would never let them go alone. Besides, through the town it isn’t perhaps quite usual. It’s not like being at home, Sheila.”
“Oh, well, I hadn’t thought of going to the town when I started, Oscar, so you needn’t look so solemn! Nobody knows I’m out; so Aunt Cossart can’t be getting anxious. I want to see what you are doing, so that I may picture you better.”
North came up at this moment, and had a kindly welcome for his young cousin. He rather laughed at her independence, but was ready enough to have her horse taken care of whilst she went to see Oscar’s “treadmill,” and saw various interesting things at the works. Her pretty appealing little ways amused him, and he was quite ready to make something of a pet of her, as were most other people. She forgot all her troubles, laughed, chatted, and talked to the work-people, the clerks, and everybody she met, until finally a great bell booming out overhead proclaimed the hour of one; and Sheila realised that she should be late for luncheon.
Oscar put her up, and she started forth at a rapid pace, and covered the two miles between the works and Cossart Place in very good time; nevertheless she saw a visible commotion at the door as she cantered up the drive, and was aware that both her aunt and uncle were on the look-out, as well as several servants.
“Did they expect me to return on a shutter?” questioned the girl of herself, with a feeling of mischievous glee. She was in good spirits from her little jaunt, and was amazed by the agitated whiteness of her aunt’s face, as she dismounted and ran up the steps into the hall.
“I’m sorry to be late; but I overlooked the time. I was at the works, seeing Oscar and the people there. I hope you haven’t waited! Effie sent me off to have a ride, and it’s so delightful having Shamrock again! I did so enjoy it!”
Mrs. Cossart said not a word but turned again to the dining-room. The servants were about, and she had no intention of saying what was in her mind before them.
Mr. Cossart shook his head and said reprovingly—
“You have made us very seriously uneasy, Sheila. You ought not to have gone off like that without leave—and alone, too. We want you to be happy; but you must not be a modern unladylike girl, galloping alone over the country, and into the town too. I hope nobody saw you who would know you. What would they have thought of such proceedings?”
“I don’t know—probably nothing. I used to ride about everywhere at home,” answered Sheila, feeling rather aggrieved at the way her very small escapade was being treated. She took her seat at table; Effie’s was vacant.
Mr. Cossart asked if she were not coming down. “Was she not so well to-day?”
“Effie has been upset!” said Mrs. Cossart coldly. “She is not well enough to come down!” And she gave a look at Sheila which sent the blood into her cheeks. She knew very well that she was in disgrace; but her spirit rose against what seemed to her to be injustice; and she talked on gaily all through the meal, not apparently heeding the silence of her elders.
When she rose from table her aunt summoned her to the little boudoir sacred to her own use; and once within the door, the storm broke over her head.
Mrs. Cossart did not profess to know what had passed between the girls; but she knew that Sheila had said unkind things to Effie, and had reduced her to tears and made her very unhappy and agitated. That sort of thing could not and must not be. Effie was in no state to be upset. Probably she would have a return of the asthma and a succession of bad nights. Sheila must remember that ill-health was a terrible trial, and she must be kindly and gentle and unselfish. In vain Sheila strove to explain how very little it was she had said, and that she had apologised afterwards. Mrs. Cossart was rather like her daughter in one way; she liked to keep the ball of conversation in her own hands. She wanted to talk, not to listen. In the end Sheila grew angry. She was not used to being found fault with. She felt she was being unjustly treated, about Effie, about her ride, about her lateness for lunch. She had done nothing wrong. No harm had happened. It was horrid of her aunt to make such a to-do. The penitence she had felt at the outset was quickly gone, and when she finally flew up to her own room, it was to shed a tempest of angry tears and resolve that she would never, never care one bit for Effie, and that her aunt was a hard, unjust woman, whom she could never care to please.
“I shall never be happy here, and I’ll tell Uncle Tom so. I’ll tell Cyril how they treat me. I’ll get away and live somewhere with Oscar. I’ve never been scolded so before, and I won’t stand it. If I’d done wrong, I should be sorry, but to tell Effie she talked about herself too much, and to take a ride on Shamrock!—no, I won’t be sorry about that! I won’t, I won’t!”
She changed her dress, and began to wonder what she should do next. It was dull all alone up here, though the room was bright and pretty enough. She stood looking out of the window, and presently she saw Cyril’s figure approaching the house by the short cut through the garden. He had promised to come and see her soon, and surely this was his expected visit. Sheila dashed the last teardrops away from her eyes, caught up a bunch of violets and fastened them at her throat, and looked carefully to see if she “looked as though she had been crying.”
She spent a few minutes removing all traces of tears from her face, and by that time all anger had subsided, and she was ready to smile and be herself again, though a little load lay upon the background of her spirits. But no message came to her from Cyril, and she went restlessly out into the passage, and along to the corridor of the modern wing. Then she stood still and listened.
Effie’s door was close at hand, and it stood just ajar, though the heavy curtain veiled the room. Sheila heard a sound of voices, and went a step nearer. Yes, that was certainly Cyril’s voice, talking to Effie. She bit her lip and stood hesitating. Should she go in, or should she not? Had it not been for her aunt’s severe strictures she would never have thought of staying away. She was lonely by herself. And she wanted so much to see Cyril. Yes, she would go in. They could but send her away if they did not want her.
The next moment she was within the room, standing a moment hesitating on the threshold. Cyril was sitting beside Effie’s couch, talking kindly to her as it seemed. Effie’s face looked as though a storm had passed over it, but she was smiling at Cyril, and when both turned at the slight sound of Sheila’s entrance she exclaimed quickly—
“Oh, come in. Cyril came to ask whether you got forgiven for being late. Did you get a scolding? Mother was in a great state about your riding alone, but I see you’ve got in all safe.”
“Of course I have,” answered Sheila laughing, with a shy little look at Effie, as much as to ask if she had forgiven the plain speaking of the morning.
(To be continued.)
[FROCKS FOR TO-MORROW.]
By “THE LADY DRESSMAKER.”
Those who are interested in the protection of birds, and object to their being killed to serve as mere ornaments for hats and bonnets, will be glad to read from the New York Times an account of the recent inventions and changes brought about by the great demand for feathers for the decoration of masculine headgear during the late war.
The trade in feathers amounts to many millions of pounds annually, and the supply of the birds furnishing them is decreasing so rapidly, that it was essential that substitutes should be found; and the American inventor has proved himself equal to the occasion. The supply of ostrich feathers from California is so ample that it has brought the price of feathers down to a reasonable figure, but still not low enough for the low prices that are asked for them. So there are plenty of good ostrich feathers manufactured of celluloid, of which the quills are made, while the barbs are of silk waste. These are so skilfully dyed and curled that only an expert could distinguish them. Other expensive feathers and plumes are made out of silk and cotton waste; and enormous quantities of poultry feathers are utilised, and are so exquisitely dyed and painted that these imitation plumes are more in demand than the real ones of the wild birds. A remarkable machine has been invented, and is in use for plucking the feathers from the dead poultry, which strips them of their feathers in just half a minute. Then the plucked feathers are passed rapidly along to another small room, where a current of air sorts the very fine from the heavy ones; and the very lightest and softest are used for pillows; but all the others find some use in the millinery trade. This state of things has made poultry quite wonderfully profitable.
TWO SPRING GOWNS.
The first things I must mention are the white muslin, and white and cream washing silk blouses, which seem to be quite as fashionable this year as they were at any time during the last two years. They are made this year chiefly with a very small bishop’s sleeve and a tiny cuff. Tucks with lace insertion between them seem to be the style, when some form of yoke is not chosen. This last way of making both dress bodices and blouses is very evident in all the new models. The shape is narrow and long, extending over the shoulders, and tucks are the most popular decoration. Lace insertion is also seen on cambric and cotton shirts, and I notice that vertical stripes are much used for all the cambric ones. The muslin blouses have a fitted under-bodice of muslin, or batiste in colour, to wear underneath; and the skirt should be of cashmere, to match this in colour. The neck and waist-band may be of moire, or of satin, either to match the skirt, or in white. The latter, however, is said to make the waist look large. In a sense, blouses are not as fashionable as they were, for they are no longer seen in the evening as they were. A pretty evening gown, with the bodice and skirt alike, is more distinctly in the last mode.
In the way of dresses, everything just now seems to be of cloth, and very fine ones are made up for evening dress. Many rows of stitching seem to be the method of trimming most followed; and strappings of the same cloth for day dresses. Cashmeres and figured mohairs, gauzes, and plenty of new grenadines are in prominent view; the latter are beautiful in their designs, floral patterns as well as stripes being seen. Coloured silks will be more worn than black ones, as under-dresses for them; and I hear that deep flounces will be the new way of making up.
It has always been a funny thing to me to see the way in which men will bravely attack the corset, and issue orders against it. These attacks are made periodically, at intervals of about eight or ten years; and all kinds of accusations are hurled against the offending corsets during the assault. But, like Tennyson’s ever-quoted “Brook,” they go on for ever. Here and there one may find some woman who has dismissed them, but, as a general rule, women are not much affected by the clamour. Lately two fresh attacks have been made, one by the Russian Minister of Public Instruction, who, after paying many visits to schools and gymnasia for girls, has decided that the corset is not conducive to the health of its wearers. So he has issued an order to the pupils of the higher schools and gymnasia, as well as to the students at the Conservatories of music and art, prohibiting the wearing of them, and with the order goes a long paper, in which are the reasons for the prohibition. At the same time, on the other side of the Atlantic, a brave assemblyman in Wisconsin, has introduced a resolution into the State Legislature: “Resolved that three members be appointed to form a committee to draft a bill to protect the health of the misses, old maids, and married women of the State of Wisconsin, by making a law to prohibit tight lacing.” Now, who is to find out the tight lacers? One pities the police if they are to perform these duties! And while I am mentioning this, I must not forget to chronicle that the new spring makes of corsets are distinguished by straight fronts, the chief shaping being done at the sides and hips.
The reign of the toque seems to be more secure this spring than ever. Indeed, the bonnet, pure et simple, with strings, is nowhere, except for very elderly people. Plateaux of straw and crinoline are much used to pinch into any becoming style; and all kinds of fancy straws in every hue are prepared for toques. Many floral toques are seen, and only one kind of flower is used to make them. It has been quite remarkable this year how early the most summery-looking hats have been worn. Rose-covered ones were seen as early as the beginning of March, and plenty of white ones in the Park. All the new toques are full and high in the front, with some scraggy-looking tips straying upwards; and to many people they are not becoming, the essence of a toque being, I think, the snugness and closeness of its fitting to the head.
In the way of colours for cloth costumes, I see all shades of grey, stone and drab, petunia, and blue of several shades, but I should say that greys are the most popular. Mauve toques and hats are really becoming a kind of uniform; they are so much worn; and every second woman wears violets.
It is said that all woollens will speedily become more expensive as wool itself has gone up; the reason of which lies in the prolonged drought of last year. Cotton is also said to be in the same case, and from the same reason. Let us hope that this will not last long enough to incommode us.
The two sitting figures in our illustration show the prevalent styles of the present spring. The one on the left wears a gown of electric blue, and a short jacket with rounded fronts. This and the narrow flounces on the skirt are braided with black braid. The revers on the jacket are of cream-coloured satin, covered with cream lace. On the right hand, the other sitting figure wears a purple cloth dress, which is scalloped with white; the front is of white cloth, with white lace at the neck. The hat on the left is one of the newest ones, with a square-topped crown, and the brims slightly turned up on both sides.
IN SHEPHERD’S PLAID.
“In Shepherd’s Plaid” shows us one of the prettiest of this season’s models, and so youthful-looking that it will be becoming and suitable for quite a young girl. It is made of silk; the yoke of the bodice is of deep rose-coloured silk, with écru lace edging. At the top of the sleeves are bands to match, and the rosy hue is repeated at the waist and at the top of the flounces on the skirt, which are also trimmed with two rows of black velvet. Black velvet rosette bows are on the bodice. A small white hat is worn with white tulle trimmings and white tips, and velvet bows under the brim. It will be seen that all the dresses worn are slightly trained, and that fashion has banished the comfortable short skirt which we have enjoyed for the past year. From what I notice, however, some women are not disposed to leave it off so easily, and I daresay we shall see it made for really useful gowns.
THE NEW BLACK VELVET JACKET.
The new black velvet jacket is shown in our next illustration; made in black velvet, very short—as all the new jackets are—and beautifully cut and fitted. These little jackets have been so much the fashion in Paris that we are sure to see many of them here, and very useful they promise to be. The revers are of white satin, and a ruffle of chiffon is worn round the neck. The toque is of white drawn tulle, with roses and white ostrich tips. The second figure wears a grey cloth gown, with a very short jacket, much pointed in the front, which is crossed over, and fastens at the side. The bodice is rounded out in front, the opening being filled in with lace and chiffon. The skirt and jacket are machine-stitched in many rows, and have bows of ribbon velvet. The hat is also a new shape, and is like the one in the first sketch, but is rather more sloping in the crown. The shapes of the sleeves at the wrist are fully shown. They are long and generally rounded, so as to fall over the hands. These tulle and chiffon ruffles are going, I think, to take the place of the feather ones which we have worn for some time. They are so pretty that the pity is that they are so perishable, especially in our grimy London. The tendency is so much towards wearing white this year that our purses will be quite depleted, if we are to follow the fashion, and keep ourselves daintily clean on all occasions.
[IN THE TWILIGHT SIDE BY SIDE.]
By RUTH LAMB.