As years go on, and she changes from the acknowledged belle to _la femme passée_, she goes through a period of frantic endeavour to retain her youth; and even when time has clutched her with too firm a hand to be shaken off, and she begins to feel the infirmities which she still puts out all her strength to conceal, even then she grasps at the departing shadow and fresh daubs the crumbling ruin, in the belief that the world's eyes are dim and that stucco may pass for marble for another year or two longer. Or she becomes a Belgravian mother, with daughters to sell to the highest bidder; and then the aim of her life is to secure the purchaser. Her daughters are never objects of real love with the fashionable woman. They are essentially her rivals, and the idea of carrying on her life in theirs, of forgetting herself in them, occurs to her only as a forecast of death. She shrinks even from her sons, as living evidences of the lapse of time which she cannot deny, and awkward _memoria technica_ for fixing dates; and there is not a home presided over by a fashionable woman where the family is more than a mere name, a mere social convention loosely held together by circumstances, not by love. Closing such a life as this comes the unhonoured end, when the miserable made-up old creature totters down into the grave where paint and padding, and glossy plaits cut from some fresh young head, are of no more avail; and where death, which makes all things real, reduces her life of lies to the nothingness it has been from the beginning. What does she leave behind her? A memory by which her children may order their own lives in proud assurance that so they will order them best for virtue and for honour? Or a memory which speaks to them of time misused, of duties unfulfilled, of love discarded for pleasure, and of a life-long sacrifice of all things good and pure for selfishness? We all know examples of the worldly old woman clinging batlike to the last to the old roofs and rafters; and we all know how heartily we despise her, and how we ridicule her in our hearts, if not by our words. If the reigning queens of fashion, at present young and beautiful, would but remember that they are only that worldly old woman in embryo, and that in a very few years they will be her exact likeness, unhappily repeated for the scorn of the world once more to follow! The traditional skeleton at the feast had a wonderfully wise meaning, crude and gross as it was in form. For though its _memento mori_, too constantly before us, would either sadden or brutalize, as we were thoughtful or licentious, yet it is good to see the end of ourselves, and to study the meaning and lesson of our lives in those of our prototypes and elder likenesses.