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TONO-BUNGAY

inconvenient kitchen in the basement that had once been a scullery. The two rooms, bedroom behind and living-room in front, were separated by folding doors that were never now thrown back, and indeed, in the presence of a visitor, not used at all. There was of course no bathroom or anything of that sort available, and there was no water supply except to the kitchen below. My aunt did all the domestic work, though she could have afforded to pay for help if the build of the place had not rendered that inconvenient to the pitch of impossibility. There was no sort of help available except that of indoor servants, for whom she had no accommodation. The furniture was their own; it was partly second-hand, but on the whole it seemed cheerful to my eye, and my aunt's bias for cheap, gay-figured muslin had found ample scope. In many ways I should think it must have been an extremely inconvenient and cramped sort of home, but at the time I took it, as I was taking everything, as being there and in the nature of things. I did not see the oddness of solvent decent people living in a habitation so clearly neither designed nor adapted for their needs, so wasteful of labour and so devoid of beauty as this was, and it is only now as I describe this that I find myself thinking of the essential absurdity of an intelligent community living in such makeshift homes. It strikes me now as the next thing to wearing second-hand clothes.

You see it was a natural growth, part of that system to which Bladesover, I hold, is the key. There are wide regions of London, miles of streets of houses, that appear to have been originally designed for prosperous middle-class homes of the early Victorian type. There must have been a perfect fury of such building in the thirties, forties, and fifties. Street after