This wasn't at Surley Stakes. The family had come up to Eaton Place for a week or ten days. And these ladies were sitting in a small jury drawing-room that did duty on flying visits. The real drawing-room was all packed up, and must have been rather savage when the family came to town, yet left it _in statu quo_. And very savage indeed with Madeline, who was begging to be allowed to stop in the country and not come to town this season at all. Indeed, she would have had her way, had not her father said that come she must, to see the new pair of carriage-horses he was thinking of purchasing, whose owner was willing to lend them for a few days on trial, but only on condition that they should not be taken away from London. So the family coachman had accompanied the family, in a certain sense clandestinely. It is needless to tell anyone who knows, that of course these ladies were themselves only theoretically in town, with those shutters all up. Madeline helped to get the lock of hair back, remarking, "It always does," without an antecedent. It was a pity there was no one there--mothers don't count--to see how pretty her wrist looked, with the blue veins in it, as she did so. She continued talking about that Mrs. Aiken, but semi-apologetically, as if she felt abnormal in wanting to see that Mrs. Aiken. Her mother attempted to rationalise and formulate her daughter's position. "I _can't_ understand, dear child," she said. "You only saw this lady that one time, and only for a few minutes then. What makes you want to see her again? She doesn't seem to have produced a--a favourable impression exactly." "N-n-not very!" is the reply; the prolonged initial conveying the speaker's hesitation to condemn. "But it isn't that." "What isn't it, child?" "What she's like. It's because I went there with Jack." "I see, dear." But it isn't so very clear that her ladyship does see. For she adds:--"I quite understand. Of course. Yes!" in a tone which seems to invite further explanation. Her daughter at least puts this interpretation on it. "Don't you see, Mumsey dear?" she says. "It's because I recollect me and Jack, and her and her husband, all talking together in that muddle of a Studio, and the lay-figure with its head on backwards. They seem to come into it somehow." The further particulars are slight, one would say, but they carry conviction, for her mother says, "I understand that, but can you do any good?" as if the substratum of a debatable point might be considered settled. Madeline goes on, encouraged to confidence. "I think _perhaps_. Because those Baxes we met..." "Those _whats_?" her ladyship interrupts; adding, however, "Oh. I see--it's a name! Go on."