At first the magnates and influences seemed to be fighting only among themselves, and he was so ill-advised as to broach the Ganford House project as a compromise that would glorify no one unfairly, and leave the erection of an episcopal palace for some future date when he perhaps would have the good fortune to have passed to “where beyond these voices there is peace,” forgetting altogether among other oversights the importance of architects and builders in local affairs. His proposal seemed for a time to concentrate the rich passions of the whole countryside upon himself and his wife.
Because they did not leave Lady Ella alone. The Walshinghams were already unpopular in their county on account of a poverty and shyness that made them seem “stuck up” to successful captains of industry only too ready with the hand of friendship, the iron grip indeed of friendship, consciously hospitable and eager for admission and endorsements. And Princhester in particular was under the sway of that enterprising weekly, The White Blackbird, which was illustrated by, which indeed monopolized the gifts of, that brilliant young caricaturist “The Snicker.”
It had seemed natural for Lady Ella to acquiesce in the proposals of the leading Princhester photographer. She had always helped where she could in her husband’s public work, and she had been popular upon her own merits in Wealdstone. The portrait was abominable enough in itself; it dwelt on her chin, doubled her age, and denied her gentleness, but it was a mere starting-point for the subtle extravagance of The Snicker’s poisonous gift.... The thing came upon the bishop suddenly from the book-stall at Pringle Junction.
He kept it carefully from Lady Ella.... It was only later that he found that a copy of The White Blackbird had been sent to her, and that she was keeping the horror from him. It was in her vein that she should reproach herself for being a vulnerable side to him.