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Monty Bell was driving, with Mrs. Jenks-Smith at his side. The robust Lady of the Bluffs, evidently having some difficulty in keeping her balance, was clutching the side bar desperately. She was dressed in bright-figured hues from top to toe, her filmy hat had lurched over one eye, and all together she looked like a Chinese lantern, or a balloon inflated for its rise but entangled in its moorings.

That is what she calls it; she made it for a fire, or for illness, or any night alarm; she never goes to bed without hanging it over a chair-back, within instant reach. It is of double, bright-figured flannel, with a double cape sewed on; and a flannel belt, also sewed on behind, and furnished, for fastening, with a big, reliable, easy-going button and button-hole.

And when to the bright-figured paper and pictures of her little sitting room she had added a print of the Mona Lisa, she observed: "She sort o' lifts me up, like somethin' I've thought of, myself. But I don't see any sense in raisin' a question about what her smile means. I told the agent so. 'Whenever I set for my photograph, I says to him, 'I always have that same silly smile on my face."

"See them dummies, Jake," she remarked to her husband at her side, whose dazzling expanse of bright-figured velvet waistcoat and massive gold chain was in admirable keeping with his wife's attire. It was a landscape, begging the word, after Turner's own heart. "Them's two dummies from the asylum, I know," she continued. "Let's watch 'em make signs."