# The Countess of Lowndes Square and Other Stories/The False Step

The False Step
Mrs. Arthur Bolney Ross, when, three years ago, she set sail, or, rather, set screw, for England, had no very clear idea of the campaign she intended to wage there, though a firm determination to win it, and had mentally arrived at no general plan beyond those preliminary manœuvres which our charming American invaders usually adopt when they first effect a landing on the primitive pavements of Piccadilly. She had, in fact, taken half a dozen rooms at the Ritz Hotel and a box on the grand tier of the Covent Garden Opera House. But she had also, for the six months preceding her expedition, secretly received daily lessons on the pronunciation and idioms of that particular (and, as she thought, peculiar) dialect of the English language which was in vogue among the section of the English-speaking race with whom she intended to have dealings.
Rightly or wrongly, she had decided that the screaming drawl of New York, which a few years before had so captivated the English upper classes, and had led to so many charming and successful marriages, was now out of date, and would enchant no longer. So instead of being content with her expressive native speech, she learned with almost passionate assiduity the mumbling English diction, the inaudible Victorian voice, which she rightly considered would be a novelty to those who had so largely abandoned it themselves in favour of a more strident utterance. But she did not, in mastering the Victorian voice and intonation, suffer her knowledge of her native tongue and its blatant delivery to wither from misuse; she but became bi-lingual, and schooled her vocal cords to either register without in the least confusing the two.
It was in this point that she showed herself a campaigner of no stereotyped order, but one who might go far, who intended in any case to go further than anybody else. The idea was brilliant. Others before her had become more English than the English, and had done well; others had remained more American than the Americans, and had done even better. But she, among the immense bales of her luggage, brought with her this significant little handbag, so to speak: she could sound American or English at will. She could say without stumbling, “Very pleased to make your acquaintance,” or “How are you?” just as she pleased. And in this, so it seems to her historian, lay the germ of her success, and also the seeds of her final and irretrievable disaster, for in spite of her modulated voice and acquired idiom, she remained American in thought, with the regal impulses of a queen in Newport.
In other respects she was not, on her first landing, different in kind from our ordinary hospitable invaders. She had a real Arthur Bolney Ross in the background, who was capable of being shown and tested, if, so to speak, she was “searched,” but who, since his mind had in the course of years become nothing more nor less than a mint, out of which streams of bullion perpetually issued, preferred to be left alone for the processes of production. Amelie was excellent friends with him, when they had time and inclination to meet, and it always gave her a comfortable feeling to know that Arthur was in existence. If they had met very often, it is probable that they would have got on each other's nerves, and, since she had an immense fortune of her own, have considered the desirability of a divorce; but in the meantime Amelie decidedly liked the feeling of stability which her husband gave her. She did not think about him much, but she knew he was there.
Husbands, she had ascertained, were going to be fashionable in London this year, or, if not exactly fashionable, were going to be “worn” in the manner of some invisible but judicious part of the dress, like a cholera belt, or, as Amelie would have called it when she spoke American, a gripe-girdle. Pearls also were worn, though not so invisibly as husbands, and Amelie had five superb ropes of these, which could be verified by anybody, and never got on her nerves at all. She had also, among her general equipment, a very excellent sort of social godmother, Lady Brackenbury, who, for a remuneration that made no difference to Amelie, but a good deal to her, was prepared to exert herself to the utmost pitch of her very valuable capabilities in the matter of bringing people to see her and in taking her to see people, and in preventing the wrong sort of people from having any sort of access to her. Amelie was willing to put herself into Lady Brackenbury's hands with the complete confidence in which she would have entrusted her mouth to a reliable dentist, had her admirable teeth demanded any sort of adjustment. She could not have made a wiser choice: there was nobody, in fact, among possible godmothers in London, who would have been a sounder sponsor.
The two had met eighteen months before in New York, and subsequently, in the summer, Violet Brackenbury had spent a month with her friend at her cottage at Newport, which exteriorly resembled an immense Swiss chalet, and inside was like a terminus hotel. There, on ground for ever afterwards more historic than Marathon, had been fought the famous sixteen days' war, in which Amelie had so signally defeated and deposed the reigning queen of the very smartest set of New York society.
The point to be decided, of course, was which of the two could give the most ludicrous, extravagant, and delirious parties, and thus be acclaimed sovereign among hostesses. Amelie, as challenger, had flung the gauntlet in the shape of a midnight lawn-tennis party, with hundreds of arc lamps hung above the courts, the nets covered with spangles, and the lines made of ground glass faintly illuminated by electric lights beneath, while, by way of contrast with this brilliance, a number of men dressed like mourners at a funeral, with top-hats and black scarves, picked up and presented the lawn-tennis balls to her guests in coffin-shaped trays. Here was a high bid for supremacy, and it was felt that Mrs. Cicero B. Dace would have to do something great in order to eclipse the brightness and originality of this entertainment. But bright and original she was, and when, two nights later, she gave her marvellous canary ball, it was thought that her throne had not yet tottered. On this occasion her admiring guests were thrilled to find that all round the walls of her ballroom had been planted mimosa trees, among the branches of which three thousand canaries had been let loose, after being doped with hard-boiled egg soaked in rum and water. These chirped and sang in a feverish and intoxicated manner. At the end of the ball the men of the party, dressed as huntsmen and armed with air-guns, shot these unfortunate songsters and presented the spoils to their partners in the cotillion.
Amelie had two answers to that—the first an indignant letter, printed in large type throughout the American press, denouncing this massacre, and the second another ball. The letter Mrs. Cicero B. Dace did not object to at all, since it but enhanced her notoriety, but she objected to the ball very much indeed, since Amelie's ingenious mind hit on the simple and exquisite plan of dispensing with the band, and having in its place a choir of three hundred singers, who, in batches of one hundred at a time, sang the dance tunes. The effect was contagious, and dancers joined in also, producing, as the press said, the “most stupendously lyrical effect since the days of Sappho.”
Then Mrs. Cicero B. Dace sat down and thought again, lighting upon the famous idea of the auction ball, in which a real English Duke acted as auctioneer, and before each dance put up the ladies for auction, to be bid for by the men who wished to be their partners. But Amelie swiftly sent for Arthur Bolney Ross, and he and a friend of hers, who was backing her in this struggle for sovereignty, continued to bid for her for so long that, out of sinister compassion for her hostess, she stepped down from the rostrum and refused to dance with either, for fear that there should be no more dancing for anybody. This completely spoiled the success of the auction ball, and while Mrs. Cicero B. Dace was still staggering from its failure, Amelie annihilated her altogether by giving her inimitable glacier ball on the hottest night of the year. A refrigerating apparatus was rigged up on the walls of her ballroom, and their entire surface thickly coated with real ice. Glass channels, fringed with blue gentians, were made round the margin of the floor, to carry off the melting water, while accomplished members of the band yodelled at intervals to carry out the Swiss illusion. She and the auctioneer Duke—whom she had captured from under the nose of Mrs. Cicero B. Dace—dressed in knickerbockers, with a rope round his shoulder and an ice-axe in his hand, led the cotillion, and Mrs. Cicero B. Dace, having in vain tried to point out that the gentians were three parts artificial flowers, retired at 1 a.m. in floods of tears.
Such were Amelie Ross's social achievements when, unlike Alexander the Great, she bethought herself that there were more worlds to conquer, and decided to extend her dominions over England. Her godmother, of course, knew her history, having, indeed, assisted at the history she had already made, and on the night of her arrival at the Ritz Hotel, dined with her there in her charming room looking over the Green Park, before going with her to her box at the opera. As regards this first appearance of her god-daughter, Violet Brackenbury had laid her plans very carefully, and explained them as they dined.
“I have asked nobody else at all, dear Amelie,” she said, “because I want everybody to be wild to find out who you are, and nobody will be able to say. Curiosity is the best sauce of all.”
Amelie became thoroughly American for a moment.
“My!” she said. “Don't you mean that your folk over here haven't seen hundreds and hundreds of pictures of me in the papers?”
“Probably not one, my dear. And I've only told one woman that you are coming. You are going to burst on everybody to-night, you and your lovely face, and your six feet of height, and your wonderful hair, and your wonderful pearls, and the most wonderful gown that you've got. I want all London for an hour or two to be wild to know who you are, and I have told the box-attendant to take your name off the door, and not to let anybody in between the acts. Afterwards I shall take you to the dance at Alice Middlesex's, which, luckily, ever so luckily, is to-night. She is the one person I have told.”
“The Duchess of Middlesex?” asked Amelie.
“Yes; and she is quite certain to ask you if you know Lady Creighton, that dreadful countrywoman of yours who is climbing into London like a monkey and hopping about it like a flea. She tried to patronize Alice, and Alice won't get over it either in this world or the next. So tell her that Lady Creighton is not received in New York—which I believe is the case, isn't it?—and look very much surprised at the idea of knowing her. I can't tell you how important that is.”
Amelie frowned slightly.
“But Elsie Creighton telephoned to me half an hour ago,” she said, “asking me to lunch with her to-morrow to meet——”
“It doesn't matter whom she asked you to meet. If she asked you to meet the entire Royal Family, you would be wise to refuse. You don't want to climb into London on the top of a hurdy-gurdy.”
“My! What's a hurdy-gurdy?” asked Amelie, whose English lessons had not taught her that word.
“Hurdy-gurdy? Street organ. It doesn't matter. You don't want to know people, if you understand; you want to make people want to know you. My plan is not that you should climb up, but that you should spread down.”
Amelie instantly caught this.
“I see,” she said. “I'm to begin at the top. But Elsie Creighton said there was a Prince coming to lunch to-morrow. I thought that was a good beginning.”
“Not so good as the Creighton woman is bad. Did you accept, by the way?”
“Why, yes.”
“Then telephone to-morrow exactly at lunch-time to say you are ill, and lunch with me very obviously downstairs in the restaurant. In fact, it couldn't have happened better. It will mark you off very definitely from her and her crowd. I don't mean to say that there are not charming people among it, but it would never do to enter London under her wing. Perhaps just at present, darling, you had better ask me before you accept invitations. It is so important to cut the right people.”
Amelie was completely cordial over this.
“I expect that is what I have got to learn,” she said. “And now for to-night—will my dress do?”
Lady Brackenbury regarded this admirable costume and shook her head.
“No, I don't think it will,” she said. “It is lovely, but you want something more arresting. You, with your wonderful complexion, can stand anything. Orange, now—haven't you got a hit-in-the-face of orange? I want everybody to be forced to look at you, and you'll do the rest. You see I have made myself as plain and inconspicuous as possible, to act as a foil. It is noble of me, but then I am noble. And all the pearls, please, just all the pearls, with the big diamond fender on your head. To-morrow, at the French Embassy, you shall wear the simplest gown you have got, and one moonstone brooch, price three-and-sixpence.”
Such was the opening of Amelie's amazing campaign, the incidents and successes of which followed swift and bewildering. Under Violet's capable guidance she began, not by collecting round her that brisk and hungry section of well-born London which is always ready to sing for its dinner, and by giving huge entertainments to bring together a crowd at all costs, but by attracting and attaching a small band of the people who mattered. Lady Brackenbury knew very well that even in the most democratic town in the world certain people, not necessarily Princes or Prime Ministers, were large pieces in the great haphazard game of chess; the crowd meantime, after whom Amelie secretly hankered, would only get more eager to be admitted. In particular, Lady Creighton starved for her entry. She asked Amelie to dine any Tuesday in June, when she was giving her series of musical parties, but Amelie found, to her great regret, that she was engaged on all those festive occasions. But she gave a musical party herself—London was prey this year to a disordered illusion that it liked music—and Melba and Caruso sang there—informally, so it seemed, just happening to sing—to not more than fifty people, who sat in armchairs at their ease, instead of elbowing each other in squashed and upright rows. In vain did Lady Creighton spread an assiduous report that the artists had sung out of tune and that the peaches were sour. Everyone knew that she had not been there, and that she alluded to another sort of fruit. Violet Brackenbury was successful in persuading Amelie not to send any account of this brilliant little affair to the papers, and to refuse all scraps to the writers for the press. But she was careful to provide for a far more telling publicity.
Gradually, craftily, a reef at a time, Violet allowed her friend to let out her sails. She left her flat at the Ritz and rurally installed herself in a spacious house in the middle of Regent's Park. There was a big field attached to the house, and, yielding to a severe attack of Americanism, which she thought it might be dangerous to suppress, Violet permitted her to give a haymaking party of the Newport type. Hay was brought in from the country and scattered over the field, and mixed up with roses and gardenias, while the guests on arrival were presented with delightful little ebony pitchforks with silver prongs, or cedarwood rakes. But this symptom caused her a little uneasiness, for it was obvious that Amelie thought her haymaking party a much brighter achievement than the previous concert.
The expansion continued. Amelie and her friend strolled into Christie's one morning, and found a tussle going on between two eminent dealers over the possession of a really marvellous string of pearls. At a breathless pause, after the first “Going!” that followed a fresh bid, Amelie said in her most ringing American voice, “I guess I'll sail in right now,” and began bidding herself. The crowd of dilettante London, which delights in seeing other people spend large sums of money, parted for her, and she moved gloriously up the auction-room and took her stand just behind one of the Mosaic little gentlemen who wanted the pearls so badly.
The recognition of her spread through the place like spilled quicksilver, and the auctioneer, with an amiable bow, caused the pearls to be handed to her for her inspection. With them still in her hand, as if it was not worth while returning them to the tray, she sky-rocketed the price by three exalting bids, the third of which was as a fire-hose on the ardour of her competitors. Her cheque-book was fetched from her car outside, and she left the room a moment afterwards, having drawn her cheque on the spot, pausing only to clasp the pearls round her neck. ... And Violet, with a strange sinking of the heart, felt as if her pet tiger-cub had tasted blood again after the careful and distinguished diet on which she had been feeding it.
Amelia had a fancy to leave London early in July, and give a few parties at an immense house she had taken near Maidenhead for the month. She had had some gondolas sent over from Venice, with their appropriate gondoliers, and London found it very pleasant to float about after dinner, while the excellent string band played in an illuminated barge that accompanied the flotilla. Exciting little surprises constantly happened, such as the arrival one evening of artists from the Grand Guignol, who played a couple of thrilling little horrors in the ballroom, while on another night the great Reynolds picture belonging to the Duke of Middlesex was found to have put in an appearance on the walls. Amelie said that it was her birthday present to her husband, and made no further allusion to it. The frame had gone to be repaired, and it was draped round in clouds of silvery-grey chiffon that extended half over the wall. And had Violet Brackenbury known the outrage that her friend had planned, the frenzy of suppressed Newportism that was ready to break forth, it is probable that she would gladly have returned the cheque which she had that morning received from Amelie.
As it was, she felt wholly at ease, and inclined to congratulate herself on the unique and signal character of Amelie's success. Never before, so she thought, had a woman so dominated the season; never, certainly, had one of her countrywomen so “mattered.” And all this, with the exception, perhaps, of the haymaking party and the incident of the pearls at Christie's, had been gained in quiet, unsensational ways; and, lulled to content, she did not realize that the spirit that inspired the queen of hostesses was ready to flare up like an access of malarial fever. Poor unsuspecting godmother, who fondly believed that those gondolas from Venice, those Grand Guignol artists from Paris, this gem of Reynolds's pictures, were a safety-valve, not guessing that they were but as oil poured on the flame!
The cotillion that night was to begin at twelve. Amelie was leading it herself with one of the Princes, and the big ballroom was doubly lined with seated guests, when on the stroke of twelve she entered, dressed in exact facsimile of the glorious Reynolds. As she advanced with her partner into the middle of the room, the band in the gallery struck up, and simultaneously a tongue of fire shot through the flimsy draperies round the picture, instantly enveloping it in flames. The canvas blistered and bubbled, and in ten seconds the finest Reynolds in the world was a sheet of scorched and blackened rag.
The crowd leaped to its feet, but before the panic had time to mature, the cause of it was over. There was nothing inflammable within range of the swiftly-consumed chiffon, and only little fragments of burned-out ash floated on to the floor. But the fervent and instantaneous heat had done its work.
Then for a moment there was dead silence, and Amelie's voice was heard in its quietest, most English tones.
“Oh, isn't that a pity!” she said.
Then arose a sudden hubbub of talk, drowning the sound of the band, which, at a signal from Amelie, had started again.
Violet stood with her friend before the blackened canvas next morning in the empty room, drawing on her gloves.
“I don't think you understand yet the effect of what you have done,” she said. “No one doubts that the fire was intentional, and—and I think that Lady Creighton will be of more use to you in the future than I can possibly be.”
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1940, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 83 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse