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 crowd to catch a glimpse of her. There she would be at his elbow, gliding up from nowhere. He restrained an impulse to snatch at her and hold her there, because each time she melted away after she had said, "Won't you let me take you to Donna Antonia Pierleoni," or "to Miss Mills," or "to Signer Ambrogi," or to somebody or other with whom it was necessary to talk and on whom it was necessary to try to keep those wandering, seeking eyes of his. He took them in with the top-layer of his consciousness, one after another of the people with whom he was forced to talk. Donna Antonia Pierleoni, a haughty, elderly Roman lady who was, as Neale said to himself, feeding her haughty Roman face as though she scorned and despised lemon ice but would eat it since it seemed to be her duty. It amused him greatly to observe that after finishing one she took another at once.

Miss Mills—oh, yes, this must be the girl Livingstone had been yarning about. Of course after praise from Livingstone it was to be expected that she'd look like a very high-priced wax image in a hair-dresser's window; and yet Neale's attention was caught for a moment by her pronunciation of a French phrase. Her inflection reminded him of Marise Allen's, and he hung about her for some time in the hope of hearing it again. Every time she repeated it, which she often did, he smiled down broadly on her. She was a pretty little thing. Livingstone was right. She was really quite an object of art, if that was what you called them.

Signer Ambrogi turned out to be in politics, an assistant Minister of Commerce or Industry or something. Why, he looked for all the world like a New York business man—might be old man Gates as he had been at forty-five. As they tried to talk to each other in French that was not very fluent on either side, Neale was reflecting that the Roman governing type had changed very little. This strongly-marked, clean-shaven, heavy-jowled head with its thick, hooked nose, bold eyes, hard mouth and wrinkled forehead, could be put without change in among the portraits of Roman Emperors.

They talked in their halting "lingua Franca" of business, of railroads, of the use of commercial fertilizers on Italian