'I should like to go back with you a little,' said Edith.
'Well, can't you? I'm going to Harrod's, of course. I'm always going to Harrod's; it's the only place I ever do go. As Bruce has a friend he'll let you go.'
Bruce made no objection. Edith regarded it as a treat to go out with her mother-in-law. The only person who seemed to dislike the arrangement was Mr Raggett. When he found he was to be left alone with Bruce, he seemed on the point of bursting into tears.
CHAPTER XXIV
The Wedding
The wedding was over. Flowers, favours, fuss and fluster, incense, 'The Voice that breathed o'er Eden,' suppressed nervous excitement, maddening delay, shuffling and whispers, acute long-drawn-out boredom of the men, sentimental interest of the women, tears of emotion from dressmakers in the background, disgusted resignation on the part of people who wanted to be at Kempton (and couldn't hear results as soon as they wished), envy and jealousy, admiration for the bride, and uncontrollable smiles of pitying contempt for the bridegroom. How is it that the bridegroom, who is, after all, practically the hero of the scene, should always be on that day, just when he is the man of the moment, so hugely, pitiably ridiculous?
Nevertheless, he was envied. It was said on all sides that Hyacinth looked beautiful, though old-fashioned people thought she was too self-possessed, and her smile too intelligent, and others complained that she was too ideal a bride—too much like a portrait by Reynolds and not enough like a fashion-plate in the Lady's Pictorial.
Sir Charles had given her away with his impassive air of almost absurd distinction. It had been a gathering of quite unusual good looks, for Hyacinth had always chosen her friends almost unconsciously with a view to decorative effect, and there was great variety of attraction. There were bridesmaids in blue, choristers in red, tall women with flowery hats, young men in tight frock-coats and buttonholes, fresh 'flappers' in plaits, beauties of the future, and fascinating, battered creatures in Paquin dresses, beauties of the past.
As to Lady Cannon, she had been divided between her desire for the dramatic importance of appearing in the fairly good part of the Mother of the Bride, and a natural, but more frivolous wish to recall to the memory of so distinguished a company her success as a professional beauty of the 'eighties, a success that clung to her with the faded poetical perfume of pot-pourri, half forgotten.
Old joys, old triumphs ('Who is she?' from the then Prince of Wales at the opera, with the royal scrutiny through the opera-glass), and old sentiments awoke in Lady Cannon with Mendelssohn's wedding March, and, certainly, she was more preoccupied with her mauve toque and her embroidered velvet gown than with the bride, or even with her little Ella, who had specially come back from school at Paris for the occasion, who was childishly delighted with her long crook with the floating blue ribbon, and was probably the only person present whose enjoyment was quite fresh and without a cloud.