introduction to Quicksands. It was characteristic of
Lily that her touch made the desert bloom. Three years before Quicksands
had gasped to hear that the Sidney Dallams had bought the Faraday house
--or rather what remained of it.

"We got it for nothing," Lily explained triumphantly on the occasion of
Honora's first admiring view. "Nobody would look at it, my dear."

It must have been this first price, undoubtedly, that appealed to Sidney
Dallam, model for all husbands: to Sidney, who had had as much of an idea
of buying in Quicksands as of acquiring a Scotch shooting box. The
"Faraday place" had belonged to the middle ages, as time is reckoned in
Quicksands, and had lain deserted for years, chiefly on account of its
lugubrious and funereal aspect. It was on a corner. Two "for rent" signs
had fallen successively from the overgrown hedge: some fifty feet back
from the road, hidden by undergrowth and in the tenebrous shades of huge
larches and cedars, stood a hideous, two-storied house with a mansard
roof, once painted dark red.

The magical transformation of all this into a sunny, smiling, white villa
with red-striped awnings and well-kept lawns and just enough shade had
done no little towards giving to Lily Dallam that ascendency which she
had acquired with such startling rapidity in the community. When Honora
and Howard drove up to the door in the deepening twilight, every window
was a yellow, blazing square, and above the sound of voices rose a waltz
from "Lady Emmeline" played with vigour on the piano. Lily Dallam greeted
Honora in the little room which (for some unexplained reason) was known
as the library, pressed into service at dinner parties as the ladies'
dressing room.

"My dear, how sweet you look in that coral! I've been so lucky to-night,"
she added in Honora's ear; "I've actually got Trixy Brent for you."

Our heroine was conscious of a pleasurable palpitation as she walked with
her hostess across the little entry to the door of the drawing-room,
where her eyes encountered an inviting and vivacious scene. Some ten or a
dozen guests, laughing and talking gayly, filled the spaces between the
furniture; an upright piano was embedded in a corner, and the lady who
had just executed the waltz had swung around on the stool, and was
smiling up at a man who stood beside her with his hand in his pocket. She
was a decided brunette, neither tall nor short, with a suggestion of
plumpness.

"That's Lula Chandos,"