garb could only have been put on for herself. With the added suggestion
of her goggles it reminded her pupil of the polished shell or corslet
of a horrid beetle. At first she had looked cross and almost cruel; but
this impression passed away with the child's increased perception of
her being in the eyes of the world a figure mainly to laugh at. She
was as droll as a charade or an animal toward the end of the "natural
history"--a person whom people, to make talk lively, described to each
other and imitated. Every one knew the straighteners; every one knew the
diadem and the button, the scallops and satin bands; every one, though
Maisie had never betrayed her, knew even Clara Matilda.

It was on account of these things that mamma got her for such low pay,
really for nothing: so much, one day when Mrs. Wix had accompanied her
into the drawing-room and left her, the child heard one of the ladies
she found there--a lady with eyebrows arched like skipping-ropes and
thick black stitching, like ruled lines for musical notes on beautiful
white gloves--announce to another. She knew governesses were poor; Miss
Overmore was unmentionably and Mrs. Wix ever so publicly so. Neither
this, however, nor the old brown frock nor the diadem nor the button,
made a difference for Maisie in the charm put forth through everything,
the charm of Mrs. Wix's conveying that somehow, in her ugliness and her
poverty, she was peculiarly and soothingly safe; safer than any one
in the world, than papa, than mamma, than the lady with the arched
eyebrows; safer even, though so much less beautiful, than Miss Overmore,
on whose loveliness, as she supposed it, the little girl was faintly
conscious that one couldn't rest with quite the same tucked-in and
kissed-for-good-night feeling. Mrs. Wix was as safe as Clara Matilda,
who was in heaven and yet, embarrassingly, also in Kensal Green, where
they had been together to see her little huddled grave. It was from
something in Mrs. Wix's tone, which in spite of caricature remained