end.
In Matilda’s early days of widowhood it looked as if the memory of Sir Magnus was to be allowed to fade. She continued to circulate for some years in the world of politics and big business to which he had introduced her, to give occasional parties in rivalry with Rosie Stevens, more musically, less politically inclined, than herself. Latterly Matilda had not only narrowed down her circle of friends, but begun to talk of Sir Magnus again. She also moved to smaller premises. Sir Magnus had left her comfortably off, if in command of far smaller resources than formerly, bequeathing most of his considerable fortune to relations, and certain public benefactions. No doubt such matters had been gone into at the time of their marriage, Matilda being a practical person, one of the qualities Sir Magnus had certainly admired in her. Moreland, too, had greatly depended on that practical side of Matilda as a wife. In short, disappointment at having received less than expected at the demise of Sir Magnus was unlikely to have played any part in earlier policy that seemed to consign him to oblivion.
Then there was a change. Matilda began, so to speak, to play the part of Ariosto’s swans, bringing the name of Donners – she had always referred to him by his surname – into the conversation. A drawing of him, by Wyndham Lewis, was resurrected in her sitting-room. She was reported to play the music he liked – Parsifal , for instance, Norman Chandler said – and to laugh about the way he would speak of having shed tears over the sufferings of the Chinese slavegirl in Turandot , no less when watching Ida Rubinstein in The Martyrdom of St Sebastian . Chandler remarked that, at one time, Matilda would never have referred to ‘that side’ of Sir Magnus. No doubt this new mood drew Matilda’s attention to the more or less quiescent fund lying at Donners-Brebner. On investigation it appeared to be entirely suitable, anyway a proportion of it, for consecration to a memorial that would bear the name of its originator. One of the papers left on the file seemed even to envisage something of the sort. Matilda went to the directors of Donners-Brebner, with whom she had always kept up. They made no difficulties, taking the view that an award of that nature was not at all to be disregarded in terms of publicity.
Why Matilda waited not much less than fifteen years to commemorate Sir Magnus was never clear. Perhaps it was simply a single aspect of the general reconstruction of her life, desire for new things to occupy her as she grew older. Regarded as a jolie laide when young, Matilda would now have passed as a former ‘beauty’. That was not undeserved. Relentless discipline had preserved her appearance, especially her figure. Once fair hair had been dyed a darker colour, a tone that suited the green eyes – a feature shared with Sir Magnus, though his eyes lacked her sleepy power – which had once captivated Moreland. A touch of ‘stageyness’ in Matilda’s clothes was not out of keeping with her personality.
Another change had been a new inclination towards female friends. Matilda had always been on good terms with Isobel, other wives of men Moreland had known, but in those days, anyway ostensibly, she seemed to possess no female circle of her own. Now she had begun to show a taste for ladies high-powered as herself. They did not exactly take the place of men in her life, but the sexes were more evenly balanced. With men she had always been discreet. There had been no stories circulated about her when married to Sir Magnus. In widowhood there had been the brief affair with Odo Stevens, before his marriage to Rosie Manasch; that affair thought more to tease Rosie than because she specially liked Stevens. Hardly any other adventure had even been lightly attributed.
Some people believed Gibson Delavacquerie had been for a short time Matilda’s lover. That was not my own opinion, although a closer relationship than that of friends
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