A LOVE SCENE
There was a knock at the door. Woodville looked up. It was Sylvia.
Sylvia had that curious gift, abstract beauty, the sort of beauty that recalls vaguely some ideal or antique memory. Hence, at various times various people had remarked on her striking resemblance to Helen of Troy, Cleopatra, Dante's Beatrice, the Venus of the Luxembourg, one of Botticelli's angels, and La Giaconda!
Her head was purely Greek, her hair, fine in texture, and in colour golden-brown, grew very low in thick ripples on a broad forehead. The illusion of the remote or mythical was intensified by the symmetry of her slim figure, by her spiritual eyes, and beautiful, Pagan mouth. Tall and slender, her rounded arms and fine hands with their short pointed fingers seemed to terminate naturally in anything she held, such as a fan or flower, or fell in graceful curves in her lap. Sylvia had not the chiffonnée restless charm of the contemporary pretty woman; she did not, like Felicity, arouse with stimulating intensity one's sense of the modern.
Goddess, heroine, or angel she might be (her height, indeed, suggested heaven rather than hockey). Her beauty was of other days, not of the Summer Number. She was not, however, to do her justice, intentionally picturesque. She did not "go in for the artistic style"; that is to say, she did not part her hair and draw it over her ears, wear oddly-shaped blouses and bead necklaces, and look absent. The iron had obviously entered into her hair (or into every seventh wave, at least, of her hair), and her dresses fitted her as a flower its sheath. She was natural, but not in the least wild; no primrose by a river's brim, nor an artificial bloom, but rather a hothouse flower just plucked and very carefully wired. Hence she was at once the despair of the portrait painters, who had never as yet been able to help making her look on canvas like a bad Leighton in a Doucet dress, and the joy of the photographers, who in her honour set aside their pillars and their baskets of flowers, their curtains and their picture hats, being certain that she would pose herself exquisitely, and that her lines were so right that not even a photographer could improve on them.
Sylvia was so truly artistic in temperament and so extremely unpractical that it was not surprising she made an admirable housekeeper, having fortunately that inborn gift for organisation, and for seeing things on the whole, that is so much more important in home life than any small fussing about the unimportant details. And she would receive excuses from servants with a smile so sweet yet so incredulous that it disarmed deceit and made incompetence hide its head (or give notice).
She came round to the writing-table, bent her head over his shoulder, and said in a low voice of emotion, as though it were a secret—
"How are you getting on? Did you want me to find anything—an address, or anything?"
He put his hand on hers and looked up at her. Then he looked away.
"Don't, Sylvia. I wish you would go away. Or go to the other side of the room ... I can't stand it."