title="[Pg 15]"/>looked at the map and saw the triangular piece painted over from the Scorpa red to the Sansevero blue, there was bad feeling.

When the old Prince Sansevero was alive, he and the present Duke, who was then a violent tempered youth, had several unfriendly encounters about the boundary line of this same property. All this had seemed very trivial to Alessandro, the present Prince, who looked upon the Duke as one of his best friends—but Alessandro had no perspicacity. He believed others to be as free from guile as himself.

Reaching a small postern gate at the end of the path, the princess opened it by pressing a hidden spring. This led directly into the apartments at the end of the south wing next to the kitchen offices—the only ones at present in use. She went directly to her own sitting-room, from which the evidences of her toilet had meantime been removed.

This room better than anything else proclaimed the manner of woman who occupied it. It had been arranged by one to whom comfort was of paramount importance, and, in spite of a certain incongruity, the whole effect was pleasing and harmonious. The frescoes on the walls were almost obliterated by age, and were partially covered by dull red stuff. Against this latter hung three pictures from the famous Sansevero collection: a Holy Family by Leonardo da Vinci, a triptych by Perugino, and a Madonna by Correggio. Hardly less celebrated, but sharply at odds with the ecclesiastical subjects of the paintings, was the mantle, carved in a bacchanalian procession of satyrs and nymphs—a model said to have been made by Niccola Pisano.

The floor, of the inevitable black and white marble, was strewn with rugs; and in front of desk and sofa bear skins had been added as a double protection against the cold. The furniture was modern upholstery, with gay chintz slip-covers. Frilled muslin curtains were crossed over and draped high under outer ones of chintz. And everywhere there were flowers—roses, orange blossoms, and camellias; in tall jars and short, on every available piece of furniture. Scarcely less in evidence were photographs, propped against walls, ornaments, and flower jars; long, narrow, highly glazed European photographs with white backgrounds, uniformed officers, sentimentally posed engaged couples, young mothers in full evening dress reading to barefooted babies out of gingerly held picture books. There were photographs of all varieties; big ones and little ones, framed and unframed—the king and the queen with crown-surmounted settings and boldly written first names, and "A la cara Eleanor" inscribed above that of her majesty. In the other photographs the signatures grew in complication and length as their aristocratic importance diminished. Books and magazines littered the tables; French, Italian, and English in indiscriminate association. A workbasket of plain sewing lay open among the pillows on the sofa. An American magazine, with a paper-knife inserted between its leaves, was tossed beside a tooled morocco edition of Tacitus. A crucifix hung beneath the Correggio; a plaster model of the Discobolus stood between the windows.

And in the midst of old and new, religious and pagan, priceless and insignificant, sat her Excellency, the ex-American beauty and present chatelaine of the great family of the princes of the Sansevero, in a golf skirt and walking boots, a plain starched shirtwaist and stock tie, adding to the wrinkles in her forehead and in the corners of her eyes by trying to figure out how, with forty thousand lire, she was going to pay a debt of sixty thousand lire and have enough left over to open the great palace in Rome, and realize a dream that had always been in her heart—to take Nina out in Roman society, to give herself the delight of showing Rome to Nina, and the greater delight of showing Nina to Rome.

She glanced up at two photographs, the only ones on her desk. The first was of her husband, taken in the fancy costume of a troubadour, with the signature "Sandro" across the lower half, in characters symbolical of the song he might have sung, so gay and ascending was the handwriting. The other picture was of a young woman in evening dress. The face was bright and winning rather than pretty; the personality really chic, and this in spite of the fact that the girl's clothes were over-elaborate. Her dress was a mass of embroidery, and around her throat she wore a diamond collar. Diamond hairpins held the loops of waving fair hair—very like the princess's own—and two handsome rings were on the fingers of one hand. It in no way suggested the Italian idea of a young girl; yet there was a youthful freshness in the expression of the face, a girlish slimness of the figure that could not have been produced by touching up the negative. Under the picture was written in a clear and modernly square handwriting, "To my own Auntie Princess with love from Nina."

The name "Auntie Princess" carried as much of Nina's personality to the mind of her aunt as the picture itself. It was the one her childish lips had spoken when she was told that her aunt was to marry a prince. Most distinct of all Eleanor Sansevero's memories of home was one of Nina being held up high above the crowd at the end of the pier to blow good-by kisses to the bride of a foreign nobleman, being carried out into the river whose widening water was making actual the separation between herself and all that till then had been her life.

It was only for a little while, she had thought at the time. She would go back once a year or so, surely; and Nina should come over often. But in the intervening fifteen years, though the Randolphs had been in Europe many times, they had always chosen midsummer for their trip, and the princess had joined her sister at some northern city or watering-place. This visit, therefore, was to be Nina's first glimpse of her aunt's home, and the princess was determined that she should not spend the time desolately in the country! She might come here for a little while—for reasons that the princess would have found hard to explain to herself, she did not want Nina to get a false impression. Yet for nothing would she have exposed her husband's failing—even to her own family. With the weakness of a true wife, she never dreamed that all her world suspected, if it did not actually know, of the great inroads on her fortune that his gambling had made.

The princess went back to her accounts, but no amount of auditing made the sum they had saved any larger. A large pearl pendant that had been the Randolphs' wedding present to her, and a ruby that had been her mother's, were her only remaining possessions that could bring anything like the sum needed; with them and perhaps notes on her next year's income, they might make up the full amount. But how to sell the jewels was the problem. There is little demand for really fine stones in Italy, and besides, they might be recognized. Long before, she had sold her emerald earrings and had false ones put in their places. She had hated wearing the imitations, but she had worn the real ones constantly, she feared their sudden absence might be noticed.

Indeed, as it was, one day out in the garden, when Scorpa was sitting near her, she thought she saw a knowing gleam in his eyes. Afterwards she tried to assure herself that it was a trick of her own consciousness; but she had not worn the earrings again in the daytime—nor ever if she knew that Scorpa was to be present.

She threw down her pencil. The first thing at all events was to find out how much she could realize on her stones, and to do that she would have to go to Paris. Taking a railroad gazette out of a drawer, she looked up trains.