Chapter Twenty.
The Beauty.
A soirée was held at a new and fashionable Art Gallery, the shining lights alike of Fame and Fashion were streaming in at the doors, and spreading themselves through the rooms, when Sylvester Riddell sprang out of a hansom cab, and mounted the steps, glancing about him at the various celebrities as he passed, exchanging greetings with his friends, and watching secretly for one face.
“Iris” had just made its appearance before the public. Sylvester, at present, was suffering from a fit of depression as to its merits, and was disposed to think that it would be an utter failure. His father’s criticisms rang in his ears, and were echoed by his own understanding, and he had felt himself so unable to decide as to the hero’s final fate, that he had left the poem unfinished, calling it “Iris, as far as Manifested” and had taken leave of Amelot, still straining after the mystic vision.
Some of his friends told him that this indefiniteness was far more artistic than a commonplace conclusion, but he knew that his father would never grant that imagination could result in vagueness. He did not think himself that it could, but for him the story of Iris was still incomplete, and he could not decide on its outcome. Lucian was off to the Rocky Mountains; and the interest of Sylvester’s life had consisted in picking up reports as to the success of the new beauty.
He was engaged as art critic to a very select and enlightened journal, hence his presence to-night, and he made his way at once to the portrait of the “Hon. Amethyst Haredale, by —,” and so encountered several of his acquaintance, all looking and criticising, for the picture was much talked of, and was painted by a rising artist. It represented Amethyst in a simple white dress, showing the long soft curves of her neck and arms, her ideal perfection of form and feature. The head was slightly turned over the shoulder, and the eyes looked out at the spectators, with the mystical far-away look which Sylvester had caught in their depths, even in the first freshness of her happy girlhood. It was somewhat faintly coloured, less blooming than the original.
“Miss Haredale is more of a flesh and blood beauty than that,” said one of the young men; “I don’t see that she looks visionary at all, but as if she enjoyed herself immensely.”
“That is altogether too etherealised,” said another, “and misses the young lady of fashion!”
“It’s a lovely picture,” said a third, “like a statue with a soul—Galatea, possibly.”