At the top of the shallow flight of grey stone steps up which she passed almost directly from the ecclesiastical doorway, a large black-draped figure, surmounted by the sweeping curves of an immense black hat voluminously swathed in a gauze veil of pale grey, stood bent towards a small woman standing on the step below her in dingy indoor black. The large outline, standing generously out below the broad low stone archway curving above the steps, against the further grey stone of what appeared to be part of a low ceiled corridor, was in extraordinary contrast to the graciously bending, surrendered attitude of the figure. Passing close to the group, Miriam caught a glimpse of large plump features, bold eyebrows, and firm dark eyes. The whole face, imagined as unscreened, was rounded, simple and undistinguished; blurred by the veil, it swam, without edges, a misty full moon. Through the veil came a voice that thrilled her as she moved on, led by a card bearing an arrowed instruction, down the grey stone corridor, with the desire for immediate audible mimicry. The behaviour of the voice was a perfect confirmation of deliberate intentional blurring of the large face. The little scanty frugally upstanding woman who had appeared to be of the artisan class, was either a humorous brick, or a toady, or of the old-fashioned respectful servant type, to stand it. The superfluous statement might, at least, even if the voice had become second nature, she might be thirty, have been delivered at an ordinary conversational pace. But to make the unimportant comment in the deliberately refined distressed ladylike voice, with pauses, as if every word were a precious gift .... She was waiting for some occasion, keeping her manner going, and the little woman had to stand out the performance.