teaching the hand to be jealous of the eye. Beneath her hair, which was soft and feathery and worn in many curls, the brow, which might have been traced by a compass so pure was its modelling, shone forth discreet, calm to placidity, and yet luminous with thought: when and where could another be found so transparently clear or more exquisitely smooth? It seemed, like a pearl, to have its orient. The eyes, of a blue verging on gray and limpid as the eyes of a child, had all the mischief, all the innocence of childhood, and they harmonized well with the arch of the eyebrows, faintly indicated by lines like those made with a brush on Chinese faces. This candor of the soul was still further evidenced around the eyes, in their corners, and about the temples, by pearly tints threaded with blue, the special privilege of these delicate complexions. The face, whose oval Raphael so often gave to his Madonnas, was remarkable for the sober and virginal tone of the cheeks, soft as a Bengal rose, upon which the long lashes of the diaphanous eyelids cast shadows that were mingled with light. The throat, bending as she worked, too delicate perhaps, and of milky whiteness, recalled those vanishing lines that Leonardo loved. A few little blemishes here and there, like the patches of the eighteenth century, proved that Modeste was indeed a child of earth, and not a creation dreamed of in Italy by the angelic school. Her lips, delicate yet full, were slightly mocking and somewhat sensuous; the waist, which was supple and yet not fragile, had no terrors for maternity, like those of girls who seek beauty by the fatal pressure of a corset.
Steel and dimity and lacings defined but did not create the serpentine lines of the elegant figure, graceful as that of a young poplar swaying in the wind.
A pearl-gray dress with crimson trimmings, made with a long waist, modestly outlined the bust and covered the shoulders, still rather thin, with a chemisette which left nothing to view but the first curves of the throat where it joined the shoulders. From the aspect of the young girl's face, at once ethereal and intelligent, where the delicacy of a Greek nose with its rosy nostrils and firm modelling marked something positive and defined; where the poetry enthroned upon an almost mystic brow seemed belied at times by the pleasure-loving expression of the mouth; where candor claimed the depths profound and varied of the eye, and disputed them with a spirit of irony that was trained and educated,--from all these signs an observer would have felt that this young girl, with the keen, alert ear that waked at every sound, with a nostril open to catch the fragrance of the celestial flower of the Ideal, was destined to be the battle-ground of a struggle between the poesies of the dawn and the labors of the day;
between fancy and reality, the spirit and the life. Modeste was a pure young girl, inquisitive after knowledge, understanding her destiny, and filled with chastity,--the Virgin of Spain rather than the Madonna of Raphael.
She raised her head when she heard Dumay say to Exupere, "Come here, young man." Seeing them together in the corner of the salon she supposed they were talking of some commission in Paris. Then she looked at the friends who surrounded her, as if surprised by their silence, and exclaimed in her natural manner, "Why are you not playing?"--with a glance at the green table which the imposing Madame Latournelle called the "altar."
"Yes, let us play," said Dumay, having sent off Exupere.
"Sit there, Butscha," said Madame Latournelle, separating the head-
clerk from the group around Madame Mignon and her daughter by the whole width of the table.
"And you, come over here," said Dumay to his wife, making her sit close by him.
Madame Dumay, a little American about thirty-six years of age, wiped her eyes furtively; she adored Modeste, and feared a catastrophe.
"You are not very lively this evening," remarked Modeste.
"We are playing," said Gobenheim, sorting his cards.
No matter how interesting this situation may appear, it can be made still more so by explaining Dumay's position towards Modeste. If the brevity of this explanation makes it seem rather dry, the reader must pardon its dryness in view of our desire to get through with these preliminaries as speedily as possible, and the necessity of relating the main circumstances which govern all dramas.
