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, having meanwhile come in, was at present close to them, and Miss Barrace hereupon, instead of risking a rejoinder, became again, with a look that measured her from top to toe, all mere long-handled appreciative tortoise-shell. She had struck our friend, from the first of her appearing, as dressed for a great occasion, and she met still more than on either of the others the conception reawakened in him at their garden-party, the idea of the femme du monde in her habit as she lived. Her bare shoulders and arms were white and beautiful; the materials of her dress, a mixture, as he supposed, of silk and crape, were of a silvery gray so artfully composed as to give an impression of warm splendour; and round her neck she wore a collar of large old emeralds, the green note of which was more dimly repeated, at other points of her apparel, in embroidery, in enamel, in satin, in substances and textures vaguely rich. Her head, extremely fair and exquisitely festal, was like a happy fancy, a notion of the antique, on an old, precious medal, some silver coin of the Renaissance; while her slim lightness and brightness, her gaiety, her expression, her decision, contributed to an effect that might have been felt by a poet as half mythological and half conventional. He could have compared her to a goddess still partly engaged in a morning cloud or a sea-nymph waist-high in the summer surge. Above all, she suggested to him the reflection that the femme du monde—in these finest developments of the type—was, like Cleopatra in the play, indeed various and multifold. She had aspects, characters, days, nights—or had them at least, showed them by a mysterious law of her own, when in addition to everything she happened also to be a woman of genius. She was an obscure person, a muffled person, one day; and a showy 200