And Pierre divined by her greeting that she deemed him of little account, petty foreign priest that he was, not even a prelate. This too again surprised him, again brought the puzzling question to the fore: Why had he been invited, what was expected of him in this society from which the humble were usually excluded? Knowing the Princess to be austerely devout, he at last fancied that she received him solely out of regard for her kinsman, the Viscount, for in her turn she only found these words of welcome: "We are so pleased to receive good news of Monsieur de la Choue! He brought us such a beautiful pilgrimage two years ago."
Passing the first through the doorway, she at last ushered the young priest into the adjoining reception-room. It was a spacious square apartment, hung with old yellow /brocatelle/ of a flowery Louis XIV pattern. The lofty ceiling was adorned with a very fine panelling, carved and coloured, with gilded roses in each compartment. The furniture, however, was of all sorts. There were some high mirrors, a couple of superb gilded pier tables, and a few handsome seventeenth-century arm-chairs; but all the rest was wretched. A heavy round table of first-empire style, which had come nobody knew whence, caught the eye with a medley of anomalous articles picked up at some bazaar, and a quantity of cheap photographs littered the costly marble tops of the pier tables. No interesting article of /virtu/ was to be seen. The old paintings on the walls were with two exceptions feebly executed. There was a delightful example of an unknown primitive master, a fourteenth-century Visitation, in which the Virgin had the stature and pure delicacy of a child of ten, whilst the Archangel, huge and superb, inundated her with a stream of dazzling, superhuman love; and in front of this hung an antique family portrait, depicting a very beautiful young girl in a turban, who was thought to be Cassia Boccanera, the /amorosa/ and avengeress who had flung herself into the Tiber with her brother Ercole and the corpse of her lover, Flavio Corradini. Four lamps threw a broad, peaceful glow over the faded room, and, like a melancholy sunset, tinged it with yellow. It looked grave and bare, with not even a flower in a vase to brighten it.
In a few words Donna Serafina at once introduced Pierre to the company; and in the silence, the pause which ensued in the conversation, he felt that every eye was fixed upon him as upon a promised and expected curiosity. There were altogether some ten persons present, among them being Dario, who stood talking with little Princess Celia Buongiovanni, whilst the elderly relative who had brought the latter sat whispering to a prelate, Monsignor Nani, in a dim corner. Pierre, however, had been particularly struck by the name of Consistorial-Advocate Morano, of whose position in the house Viscount de la Choue had thought proper to inform him in order to avert any unpleasant blunder. For thirty years past Morano had been Donna Serafina's /amico/. Their connection, formerly a guilty one, for the advocate had wife and children of his own, had in course of time, since he had been left a widower, become one of those /liaisons/ which tolerant people excuse and except. Both parties were extremely devout and had certainly assured themselves of all needful "indulgences." And thus Morano was there in the seat which he had always taken for a quarter of a century past, a seat beside the chimney-piece, though as yet the winter fire had not been lighted, and when Donna Serafina had discharged her duties as mistress of the house, she returned to her own place in front of him, on the other side of the chimney.
When Pierre in his turn had seated himself near Don Vigilio, who, silent and discreet, had already taken a chair, Dario resumed in a louder voice the story which he had been relating to Celia. Dario was a handsome man, of average height, slim and elegant. He wore a full beard, dark and carefully tended, and had the long face and pronounced nose of the Boccaneras, but the impoverishment of the family blood over a course of centuries had attenuated, softened as it were, any sharpness or undue prominence of feature.
"Oh! a beauty, an astounding beauty!" he repeated emphatically.
"Whose beauty?" asked Benedetta, approaching him.
Celia, who resembled the little Virgin of the primitive master hanging above her head, began to laugh. "Oh! Dario's speaking of a poor girl, a work-girl whom he met to-day," she explained.
Thereupon Dario had to begin his narrative again. It appeared that while passing along a narrow street near the Piazza Navona, he had perceived a tall, shapely girl of twenty, who was weeping and sobbing violently, prone upon a flight of steps. Touched particularly by her beauty, he had approached her and learnt that she had been working in the house outside which she was, a manufactory of wax beads, but that, slack times having come, the workshops had closed and she did not dare to return home, so fearful was the misery there. Amidst the downpour of her tears she raised such beautiful eyes to his that he ended by drawing some money from his pocket. But at this, crimson with confusion, she sprang to her feet, hiding her hands in the folds of her skirt, and refusing to take anything. She added, however, that he might follow her if it so pleased him, and give the money to her mother. And then she hurried off towards the Ponte St'. Angelo.*
* Bridge of St. Angelo.
"Yes, she was a beauty, a perfect beauty," repeated Dario with an air of ecstasy. "Taller than I, and slim though sturdy, with the bosom of a goddess. In fact, a real antique, a Venus of twenty, her chin rather bold, her mouth and nose of perfect form, and her eyes wonderfully pure and large! And she was bare-headed too, with nothing but a crown of heavy black hair, and a dazzling face, gilded, so to say, by the sun."