“Let’s go and play the Osborne quadrilles,” Sophia suggested (the Osborne quadrilles being a series of dances arranged to be performed on drawing-room pianos by four jewelled hands).

“I couldn’t think of it,” said Constance, with a precocious gesture of seriousness.  In that gesture, and in her tone, was something which conveyed to Sophia:  “Sophia, how can you be so utterly blind to the gravity of our fleeting existence as to ask me to go and strum the piano with you?” Yet a moment before she had been a little boy.

“Why not?” Sophia demanded.

“I shall never have another chance like to-day for getting on with this,” said Constance, picking up a bag from the counter.

She sat down and took from the bag a piece of loosely woven canvas, on which she was embroidering a bunch of roses in coloured wools.  The canvas had once been stretched on a frame, but now, as the delicate labour of the petals and leaves was done, and nothing remained to do but the monotonous background, Constance was content to pin the stuff to her knee.  With the long needle and several skeins of mustard-tinted wool, she bent over the canvas and resumed the filling-in of the tiny squares.  The whole design was in squares—­the gradations of red and greens, the curves of the smallest buds—­all was contrived in squares, with a result that mimicked a fragment of uncompromising Axminster carpet.  Still, the fine texture of the wool, the regular and rapid grace of those fingers moving incessantly at back and front of the canvas, the gentle sound of the wool as it passed through the holes, and the intent, youthful earnestness of that lowered gaze, excused and invested with charm an activity which, on artistic grounds, could not possibly be justified.  The canvas was destined to adorn a gilt firescreen in the drawing-room, and also to form a birthday gift to Mrs. Baines from her elder daughter.  But whether the enterprise was as secret from Mrs. Baines as Constance hoped, none save Mrs. Baines knew.

“Con,” murmured Sophia, “you’re too sickening sometimes.”

“Well,” said Constance, blandly, “it’s no use pretending that this hasn’t got to be finished before we go back to school, because it has.”  Sophia wandered about, a prey ripe for the Evil One.  “Oh,” she exclaimed joyously—­even ecstatically—­looking behind the cheval glass, “here’s mother’s new skirt!  Miss Dunn’s been putting the gimp on it!  Oh, mother, what a proud thing you will be!” Constance heard swishings behind the glass.  “What are you doing, Sophia?”

“Nothing.”

“You surely aren’t putting that skirt on?”

“Why not?”

“You’ll catch it finely, I can tell you!”

Without further defence, Sophia sprang out from behind the immense glass.  She had already shed a notable part of her own costume, and the flush of mischief was in her face.  She ran across to the other side of the room and examined carefully a large coloured print that was affixed to the wall.