Her pleasure was heightened by the knowledge that she was watched. If she glanced across quickly, Miss Rae’s eyes were invariably fixed on her and Norman Mann would be gazing in the opposite direction in the most suspicious manner. From above her strange friend leaned over admiringly and once, as Mae looked joyously upwards, clapped her white hands softly together, while beyond her a tall figure stood motionless, Mae had pretended not to see Bero yet, but as the Italian applauded her in this gentle manner, her eyes sought his involuntarily. He was gazing very fixedly and rapturously down on her, without any apparent thought of the beautiful girl by his side. After that, Mae looked up often, in a glad, childlike way, for spite of this first lesson in wholesale coquetry, and the new conflict of emotions within her mind, she was enjoying herself with the utter abandon of her glad nature.
Toward the close of the afternoon, the Italian was suddenly surrounded by a great mass of flowers, over which she waved her hand caressingly and pointed down at Mae. “For you,” the gesture seemed to say. The veiled lady appeared to summon several of her friends, for a number of gentlemen left the other window and its group of girls, and began the difficult task of attempting to toss the bouquets from their height down to Mae. This was rendered the more difficult as the Madden balcony was covered, and the best shots succeeded in landing their trophies on this awning, where they were speedily captured and drawn in by the occupants of the next flat, an ogre of an old woman and her hook-nosed daughter, who wore an ugly green dress and was otherwise unattractive.
The entire Madden party became interested and stood looking on with the most encouraging smiles. The very last bouquet was vainly thrown, however, and gathered in by the ogre, when Bero suddenly appeared, a little behind the party in the window. The flowers in his hand were of the same specimens as those he had given Mae the day before, although different in arrangement. He lifted the bouquet quickly to his lips, so quickly that perhaps only Mae understood the motion, and flung it lightly forward. Mae leaned over the balcony, reaching out her eager hands, and caught it in her very finger tips. The party above bowed and applauded, as she raised the flowers triumphantly to her face.
So the second day of the Carnival was a success, till they turned their backs on the Corso. In the carriage Mrs. Jerrold spoke gently but firmly to Mae. “Be a little more careful, dear; don’t let your spirits carry you quite away during these mad days.” Mae smiled, but was silent.
“What a strangely beautiful girl that was in the gallery opposite,” Edith said, a moment later. “I wonder if she is engaged to that superb man; I fancied I had seen him before. Why, Mae, what in the world are you blushing at?” For Mae’s face was scarlet. “Why, nothing,” replied Mae, redder yet; “nothing at all. What do you mean?”
The same thought occurred to Edith and Albert. The officer was Mae’s chance acquaintance. They both looked grave, and Albert remarked: “It is as well to be careful before getting up too sudden an acquaintance with your Italian girl. Take care of your eyes.”
“Has it come to this?” cried Mae, half jestingly, half bitterly. “Are nor my very eyes my own? I shall feel, Albert, as if you were trying to bind me in that chain you threatened,” and Mae started: her fingers had felt another scrap of paper among the flowers, but she did not drop it from the carriage, as her first impulse was; she held it tight and close in her warm right hand until she was fairly at home and safe in her own room. Then she opened and read in an Italian hand, “To my little Queen of the Carnival.”
Could he have written that as he stood by the wonderful veiled lady, with her white mysterious beauty, with the purple shadows about her dark eyes, while she—and Mae looked in her glass again. What did she see? Certainly a different picture, but a picture for all that. Life and color and youth, a-tremble and a-quiver in every quick movement of her face, in the sudden lifting of the eyelids, the swift turn of the lips, the litheness and carelessness of every motion; above and beyond all, the picture possessed that rare quality which some artist has declared to be the highest beauty, that picturesque charm which shines from within, that magnetic flash and quiver which comes and goes “ere one can say it lightens.”
The veiled lady’s face was stranger, more mysterious, to an artistic or an imaginative mind; but youth, and intense life, and endless variety usually carry the day with a man’s captious heart, and so Bero called Mae
“My little Queen of the Carnival.”