"But, Hugh, I don't want to have him make the best of it that way--at least, so long as you're not your own master." One day at the Casino he pointed out Libby Jaynes to me. I was there in charge of the children, and he managed to slip over from the tennis he was playing for a word: "There she is--that girl with the orange-silk sweater." The point of his remark was that Libby Jaynes was one of a group of half a dozen people, and was apparently received at Newport like anybody else. The men were in flannels; the women in the short skirts and easy attitudes developed by a sporting life. The silk sweater in its brilliant hues was to the Casino grounds as the parrot to Brazilian woods. Libby Jaynes wasn't pretty; her lips were too widely parted and her teeth too big; but her figure was adapted to the costume of the day, and her head to the slouching panama. She wore both with a decided _chic_. She was the orange spot where there was another of purple and another of pink and another of bright emerald-green. As far as I could see no one remembered that she had ever rubbed men's finger-nails in the barber's room of a hotel, and she certainly betrayed no sign of it. It was what Hugh begged me to observe. If I liked I could within a year be a member of this privileged troop instead of an outsider looking on. "You'd be just as good as she is," he declared with a naïveté I couldn't help taking with a smile. I was about to say, "But I don't feel inferior to her as it is," when I recalled the queer look of incredulity he had given me on the beach. And then one morning I heard he had quarreled with his father. It was Hugh who told me first, but Mrs. Rossiter gave me all the details within an hour afterward. It appeared that they had had a dinner-party in honor of old Mrs. Billing which had gone off with some success. The guests having left, the family had gathered in Mildred's sitting-room to give the invalid an account of the entertainment. It was one of those domestic reunions on which the household god insisted from time to time, so that his wife should seem to have that support from his children which both he and she knew she didn't have. The Jack Brokenshires were there, and Hugh, and Ethel Rossiter. It was exactly the scene for a tragi-comedy, and had the kind of setting theatrical producers liked before the new scene-painters set the note of allegorical simplicity. Mildred had the best corner room up-stairs, though, like the rest of the house, her surroundings suffered from her father's taste for the Italianate and over-rich. Heavy dark cabinets, heavy dark chairs, gilt candelabra, and splendidly brocaded stuffs threw the girl's wan face and weak figure into prominence. I think she often sighed for pretty papers and cretonnes, for Sèvres and colored prints, but she took her tapestries and old masters and majolica as decreed by a power she couldn't question. When everything was done for her comfort the poor thing had nothing to do for herself.