must be prepared for competition.'

'From whom?'

'My cousin for one.'

'And who else?'

'From me,' said Elena.

'You?—Well, we shall see.'

Several of the gentlemen asked for further enlightenment.

'It is a contest between ladies of the 19th century for a rock crystal vase which belonged to Niccolo Niccoli,' Andrea explained with solemnity; 'a vase, on which is engraved the Trojan Anchises untying one of the sandals of Venus Aphrodite. The entertainment will be given gratis, at one o'clock to-morrow afternoon, in the Public Sale-rooms of the Via Sistina. Contending parties—the Princess of Ferentino, the Duchess of Scerni and the Marchesa d'Ateleta.'

Everybody laughed, and Grimiti asked, 'Is betting permitted?'

'The odds! The odds!' yelled Don Filippo del Monte, imitating the strident voice of the bookmaker Stubbs.

The Princess gave him an admonitory tap on the arm with her red fan, but the joke seemed to amuse them hugely and the betting began at once. Hearing the bursts of laughter, other ladies and gentlemen joined the group in order to share the fun. The news of the approaching contest spread like lightning and soon assumed the proportions of a society event.

'Give me your arm and let us take a turn through the rooms,' said Elena to Andrea Sperelli.

As soon as they were in the west room, away from the noisy crowd, Andrea pressed her arm and murmured, 'Thanks.'

She leaned on him, stopping now and again to reply to some greeting. She seemed fatigued, and was as pale as the pearls of her necklace. Each gentleman addressed her with some hackneyed compliment.

'How stupid they all are! it makes me feel quite ill,' she said.

As they turned, she saw Sakumi was following them noiselessly, her camellia in his button-hole, his eyes full of yearning not daring to come nearer. She threw him a compassionate smile.

'Poor Sakumi!'

'Did you not notice him before?' asked Andrea.

'No.'

'While we were sitting by the piano, he was in the recess of the window, and never took his eyes off your hands when you were playing with the weapon of his native country—now reduced to being a paper-cutter for a European novel.'

'Just now, do you mean?'

'Yes, just now. Perhaps he was thinking how sweet it would be to perform Hara-Kiri with that little scimitar, the chrysanthemums on which seemed to blossom out of the lacquer and steel under the touch of your fingers.'

She did not smile. A veil of sadness, almost of suffering, seemed to have fallen over her face; her eyes, faintly luminous under the white lids, seemed drowned in shadow, the corners of her mouth drooped wearily, her right arm hung straight and languid at her side. She no longer held out her hand to those who greeted her; she listened no longer to their speeches.

'What is the matter?' asked Andrea.

'Nothing—I must go to the Van Hueffels' now. Take me to Francesca to say good-bye, and then come with me down to my carriage.'

They returned to the first drawing-room, where Luigi Gulli, a young man, swarthy and curly-haired as an Arab, who had left his native Calabria in search of fortune, was executing, with much feeling, Beethoven's sonata in C# minor. The Marchesa d'Ateleta, a patroness of his, was standing near the piano, with her eyes fixed on the keys. By degrees, the sweet and grave music drew all these frivolous spirits within its magic circle, like a slow-moving but irresistible whirlpool.

'Beethoven!' exclaimed Elena in a tone of almost religious fervour, as she stood still and drew her arm from Andrea's.

She had halted beside one of the great palms and, extending her left hand, began very slowly to put on her glove. In that attitude her whole figure, continued by the train, seemed taller and more erect; the shadow of the palm veiled and, so to speak, spiritualised the pallor of her skin. Andrea gazed at her in a kind of rapture, increased by the pathos of the music.

As if drawn by the young man's impetuous desire, Elena turned her head a little, and smiled at him—a smile so subtle, so spiritual, that it seemed rather an emanation of the soul than a movement of the lips, while her eyes remained sad and as if lost in a far away dream. Thus overshadowed they were verily the eyes of the Night, such as Leonardo da Vinci might have imagined for an allegorical figure after having seen Lucrezia Crevelli at Milan.

During the second that the smile lasted, Andrea felt himself absolutely alone with her in the crowd. An immense wave of pride flooded his heart.

Elena now prepared to put on the other glove.

'No, not that one,' he entreated in a low voice.

She understood, and left her hand bare.

He was hoping to kiss that hand before she left. And suddenly he had a vision of the May Bazaar, and the men drinking champagne out of those hollowed palms, and for the second time that night he felt the keen stab of jealousy.

'We will go now,' she said, taking his arm once more.

The sonata over, conversation was resumed with fresh vigour. Three or four new names were announced, amongst them that of the Princess Issé, who entered smiling, with funny little tottering steps, in European dress, her oval face as white and tiny as a little netske figurine. A stir of curiosity ran round the room.

'Good-night, Francesca,' said Elena, taking leave of her hostess, 'I shall see you to-morrow.'

'Going so soon?'

'I am due at the Van Hueffels'. I promised to go.'

'What a pity! Mary Dyce is just going to sing.'

'I must go—good-bye!'

'Well, take this, and good-bye. Most amiable of cousins, please look after her.'

The Marchesa pressed a bunch of double violets into her hand and hurried away to receive the Princess Issé very graciously. Mary Dyce, in a red dress, slender and undulating as a tongue of fire, began to sing.

'I am so tired!' murmured Elena, leaning wearily on Andrea's arm. 'Please ask for my cloak.'

He took her cloak from the attendant, and in helping her to put it on, touched her shoulder with the tips of his fingers, and felt her shiver. The words of one of Schumann's songs was borne to them on Mary Dyce's passionate soprano, Ich kann's nicht fassen, nicht glauben!

They descended the stairs in silence. A footman preceded them to call the duchess's carriage. The stamping of the horses rang through the echoing portico. At every step, Andrea felt the pressure of Elena's arm grow heavier; she held her head high, and her eyes were half closed.

'As you ascended these stairs, my admiration followed you, unknown to you. Now, as you come down, my love accompanies you,' he said softly, almost humbly, faltering a little between the two last words.

She made no reply, but she lifted the bunch of violets to her face, and inhaled the perfume. In so doing, the wide sleeve of her evening cloak slipped back over her arm beyond her elbow, thrilling the young man's senses almost beyond control. His lips trembled, and he with difficulty restrained the burning words that rose to them.

The carriage was standing at the foot of the great stairway; a footman held open the door.

'To Madame Van Hueffel's,' said the duchess to him, while Andrea helped her in.

The man left the door and returned to his seat beside the coachman. The horses stamped, striking out sparks from the stones.

'Take care!' cried Elena, holding out her hand to the young man. Her eyes and her diamonds flashed through the gloom.

'Oh, to be in there with her in the shadow—to press my lips to her satin neck under the perfumed fur of her mantle!'

'Take me with you!' he would like to have cried.

But the horses plunged. 'Oh, take care!' Elena repeated.