Margaret Capel: A Novel, vol. 2 of 3Wallace, Ellen
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Margaret Capel: A Novel, vol. 2 of 3
Wallace, Ellen
English fiction -- 19th century
Her understanding was more matured, her fancy brighter, her acquirements
larger than those of Margaret. She had not been to a boarding-school;
and she had gained from her mother's thoughtful mind, more education
than from all her masters. She was less beautiful than Margaret--less
graceful, but more elegant; there was more of style about her
appearance, and less of simplicity. Therefore she looked older than she
was, and Margaret younger. And in the details of domestic life, she was
perhaps more formed than Margaret, to interest the fancy and excite the
attention.
She was accustomed to make all those little demands upon the sympathy
and assistance of those around her, which you see so constantly in
French women, and which are generally attractive to men in this country,
perhaps from their contrast to the more quiet and independent habits of
English women in general.
If she wished to give little Jane a bonnet and cloak, Mr. Haveloc and
her mamma were summoned to the table, and were obliged to look over the
patterns the servant had brought from the neighbouring town, and
discuss the colour and fashion of the garments. And Mr. Haveloc was
desired to walk down to Brand's cottage, and look at the child to see
whether red or blue would suit her best; and to inquire after Mrs.
Brand's health, and to ask the best of the two Toms, whether he had yet
been able to find that specimen of sea-weed that Miss Fitzpatrick wanted
to complete her orders of Cryptogamia.
Those persons who spend their lives in wandering from place to place,
little know how much of interest they forfeit in not having a settled
place of abode. So many little elegant trifles accumulate in a home that
can never be packed up and carried from one hired residence to another.
Mrs. Fitzpatrick's was just the sort of house where one might lounge
away the morning delightfully. Chairs and sofas of all patterns were
scattered about the room; drawn to the carved tables, or placed
temptingly near the large, open window, from which you could step at
once into the garden, where the finest flowers filled the air with their
perfume, and seemed to overrun the wire baskets in which they were
planted. The tables were strewn with books and prints; with cameos,
carvings and choice miniatures. Aveline's painting was generally on a
reading stand near the sofa, and a little lava tray of modelling tools
stood on a slab at the farthest end of the room, covered by a cambric
handkerchief with a foreign border of brilliant colours.
Public-domain text, read in full here on John Shaqi.
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