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TONO-BUNGAY

Lichtenstein touch. The harp was still in the saloon, but there was a different grand piano with a painted lid and a metrostyle pianola, and an extraordinary quantity of artistic litter and bric-à-brac scattered about. There was the trail of the Bond Street showroom over it all. The furniture was still under chintz, but it wasn't the same sort of chintz although it pretended to be, and the lustre-dangling chandeliers had passed away. Lady Lichtenstein's books replaced the brown volumes I had browsed among—they were mostly presentation copies of contemporary novels and the National Review and the Empire Review, and the Nineteenth Century and After jostled current books on the tables—English new books in gaudy catchpenny "artistic" covers, French and Italian novels in yellow, German art handbooks of almost incredible ugliness. There were abundant evidences that her ladyship was playing with the Keltic renascence, and a great number of ugly cats made of china—she "collected" china and stoneware cats—stood about everywhere—in all colours, in all kinds of deliberately comic, highly glazed distortion. . . . .

It is nonsense to pretend that finance makes any better aristocrats than rent. Nothing can make an aristocrat but pride, knowledge, training, and the sword. These people were no improvement on the Drews, none whatever. There was no effect of a beneficial replacement of passive unintelligent people by active intelligent ones. One felt that a smaller but more enterprising and intensely undignified variety of stupidity had replaced the large dulness of the old gentry, and that was all. Bladesover, I thought, had undergone just the same change between the seventies and the new century that had overtaken the dear old Times, and