Kate Douglas Smith Wiggin

Kate Douglas Smith Wiggin

Summary

Portrait of Kate Douglas Smith Wiggin Kate Douglas Smith Wiggin A Cathedral Courtship

We are always being ridiculous, and he is always rescuing us. Aunt Celia never really sees him, and thus never recognises him when he appears again, always as the flower of chivalry and guardian of ladies in distress. I will never again travel abroad without a man, even if I have to hire one from a feeble-minded asylum. We work like galley-slaves, Aunt Celia and I, finding out about trains and things. Neither of us can understand Bradshaw, and I can’t even grapple with the lesser intricacies of the A B C Railway Guide.
Source: Gutenberg

Portrait of Kate Douglas Smith Wiggin Kate Douglas Smith Wiggin A Cathedral Courtship

When you find a girl who combines all the qualities you have imagined in the ideal, and who has added a dozen or two on her own account, merely to distract you past all hope, why stand up and try to resist her charm? Down on your knees like a man, say I!
* * * * *
I’m getting to adore aunt Celia. I didn’t care for her at first, but she is so deliciously blind! Anything more exquisitely unserviceable as a chaperon I can’t imagine. Absorbed in antiquity, she ignores the babble of contemporaneous lovers. That any man could look at Kitty when he could look at a cathedral passes her comprehension.
Source: Gutenberg

Portrait of Kate Douglas Smith Wiggin Kate Douglas Smith Wiggin A Cathedral Courtship

There ought to be a law against a woman’s making a picture of herself, unless she is willing to allow an artist to ‘fix her’ properly in his gallery of types.
A black-and-white sketch doesn’t give any definite idea of this charmer’s charms, but sometime I’ll fill it in—hair, sweet little hat, gown, and eyes, all in golden brown, a cape of tawny sable slipping off her arm, a knot of yellow primroses in her girdle, carved-oak background, and the afternoon sun coming through a stained-glass window.
Source: Gutenberg

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