Artists -- Fiction; England -- Social life and customs -- 19th century -- Fiction; London (England) -- Fiction
So until Annie Maurice had come to take up her position as his mother's
companion, Lord Caterham had been entirely without female society, and
since her advent he had first learned the advantages of associating
with a pure, genuine healthy woman. Like Carry Chesterton, she seemed
to take to the crippled man from her first introduction to him; but ah,
how unlike that siren did sweet Annie Maurice show her regard! There
was no more romance in her composition, so she would have told you
herself, than in the statue at Charing Cross; no eyebrow elevations, no
glances, no palpable demonstrations of interest. In quite a household
and domestic manner did this good fairy discharge her duties. She was
not the Elf, the Wili, the Giselle; in book-muslin and star-sprent
hair; she was the ordinary "Brownie," the honest Troll, which shows
its presence in help rather than ornament. Ever since Miss Maurice had
been an inmate of the house in Barnabas Square, Caterham's books had
been dusted, his books and papers arranged, his diurnal calendar set,
his desk freshened with a glass of newly-gathered flowers. Never before
had his personal wants been so readily understood, so deftly attended
to. No one smoothed his pillows so softly, wheeled his chair so easily,
his every look so quickly comprehended. To all that dreary household
Annie Maurice was a sunbeam; but on no one did she shine so brightly
as on that darkened spirit. The Earl felt the beaming influence of
her bright nature; the Countess could not deny her meed of respect to
one who was always "in her place;" the servants, horribly tenacious
of interference, could find no fault with Miss Maurice; but to none
appeared she in so bright a light as to Lord Caterham.
Public-domain text, read in full here on John Shaqi.
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