“Why, but here she is!” suddenly said Massot.
Rosemonde was indeed there, in the vestibule, watching the door as if she expected somebody. Short, slight, and strange rather than pretty, with her delicate face, her sea-green eyes, her small quivering nose, her rather large and over-ruddy mouth, which was parted so that one could see her superb teeth, she that day wore a sky-blue gown spangled with silver; and she had silver bracelets on her arms and a silver circlet in her pale brown hair, which rained down in curls and frizzy, straggling locks as though waving in a perpetual breeze.
“Oh! whatever you desire, Monsieur l’Abbe,” she said to Pierre as soon as she knew his business. “If they don’t take your old man in at our asylum, send him to me, I’ll take him, I will; I will sleep him somewhere here.”
Still, she remained disturbed, and continually glanced towards the door. And on the priest asking if Baroness Duvillard had yet arrived, “Why no!” she cried, “and I am much surprised at it. She is to bring her son and daughter. Yesterday, Hyacinthe positively promised me that he would come.”
There lay her new caprice. If her passion for chemistry was giving way to a budding taste for decadent, symbolical verse, it was because one evening, whilst discussing Occultism with Hyacinthe, she had discovered an extraordinary beauty in him: the astral beauty of Nero’s wandering soul! At least, said she, the signs of it were certain.
And all at once she quitted Pierre: “Ah, at last!” she cried, feeling relieved and happy. Then she darted forward: Hyacinthe was coming in with his sister Camille.
On the very threshold, however, he had just met the friend on whose account he was there, young Lord George Eldrett, a pale and languid stripling with the hair of a girl; and he scarcely condescended to notice the tender greeting of Rosemonde, for he professed to regard woman as an impure and degrading creature. Distressed by such coldness, she followed the two young men, returning in their rear into the reeking, blinding furnace of the drawing-room.
Massot, however, had been obliging enough to stop Camille and bring her to Pierre, who at the first words they exchanged relapsed into despair. “What, mademoiselle, has not madame your mother accompanied you here?”
The girl, clad according to her wont in a dark gown, this time of peacock-blue, was nervous, with wicked eyes and sibilant voice. And as she ragefully drew up her little figure, her deformity, her left shoulder higher than the right one, became more apparent than ever. “No,” she rejoined, “she was unable. She had something to try on at her dressmaker’s. We stopped too long at the Exposition du Lis, and she requested us to set her down at Salmon’s door on our way here.”
It was Camille herself who had skilfully prolonged the visit to the art show, still hoping to prevent her mother from meeting Gerard. And her rage arose from the ease with which her mother had got rid of her, thanks to that falsehood of having something to try on.