Widgett was a journalist and art critic, addicted to a greenish-gray tweed suit and “art” brown ties; he smoked corncob pipes in the Avenue on Sunday morning, travelled third class to London by unusual trains, and openly despised golf. She was suddenly grave. “It’s unforgivable of me to call, Miss Stanley,” he said, shaking hands in a peculiar, high, fashionable manner; “but you know you said we might be friends. His features were regular, and finely-formed; his complexion bright and blooming,—a little shaded, however, by travel and exposure to the sun; and, with a praiseworthy contempt for the universal and preposterous fashion then prevailing, of substituting a peruke for the natural covering of the head, he allowed his own dark-brown hair to fall over his shoulders in ringlets as luxuriant as those that distinguished the court gallant in Charles the Second's days—a fashion, which we do not despair of seeing revived in our own days. She is curiously altered in many ways. “I am excited to announce the premiere of my Concerto for Violin and Orchestra, to be played tonight featuring solos by our concertmaster, Lucy Albert. Years ago, when you were a girl and in the bloom of your beauty, I loved you.
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