He left his easel and offered a seat.
"How is Charles?" he asked.
"He is all right, thank you."
She sat down, smiling, and her smile was really charming as well as sad. Although covered with a veil, her clear eyes of pinkish blue, her very large eyes which illuminated her whole figure, seemed to be radiating infinite kindness.... She was dressed very elegantly, without striving to be pretentious. A little over-perfumed, however.... There was a moment of silence.
The studio of the painter Lirat, situated in a peaceful section of the Faubourg Saint Honoré, on Rodrigues Square, was a vast, bare place with grey walls, with rough carpentry work and without furniture. Lirat called it familiarly "his hangar." A hangar it was, indeed, where the north winds blew and the rain entered the room through the small crevices in the roof. Two long tables of plain wood supported boxes of paint, scrap books, blocks, handles of fans, Japanese albums, casts, a mess of odd and useless things. Near a book case filled with old magazines in a corner there was a pile of pasteboard, canvas, torn sketches with the stretchers sticking through. A shattered sofa creaking with a sound like that of a piano out of tune, whenever one tried to sit on it, two rickety arm chairs, a looking glass without a frame—constituted the only luxury of the studio illumined by trembling sunlight. In the winter, on days when Lirat had a model posing for him in the studio, he used to light his little cast iron stove whose chimney, crooked into several large bends, supported by iron wire and covered with rust, rose in a serpentine fashion in the middle of the room, before losing itself in the roof through an opening, all too large. On other days, even during the coldest nights, he substituted for the heat of the stove an old coat of astracan fur, worn out, bald and scabby, which he put on with real pleasure.
Lirat took a childish pride in this dilapidated studio, and he boasted of its bareness as other painters do of their embroidered plush and tapestries, invariably historical in origin. Nay, he even wanted it to be still less attractive, he wanted its floor to be the bare ground. "It is in my studio that I learn who my best friends are," he would often say, "they always come again, the others stay away. That's very convenient." Very few came more than once.
The young woman was attractively seated in her chair, her bust slightly bent forward, her hands buried in her muff; from time to time she would take out an embroidered handkerchief and bring it slowly to her mouth which I could not see because of the thick border of the veil which hid it, but which I surmised was very beautiful, very red and exquisitely shaped. In her whole figure, elegant and refined, about which, in spite of the smile which rendered it so alluring, there was an air of modesty and even haughtiness, I could distinguish only these beautiful eyes which rested on objects like the rays of some heavenly star, and I followed her gaze which passed from the floor to the frame work, so vibrant with luminosity and caresses. The embarrassing silence continued. I thought I alone was the cause of this embarrassment and I was getting ready to leave, when Lirat exclaimed:
"Ah! Pardon! ... I have forgotten.... Dear Madame, allow me to introduce to you my friend Jean Mintié."
She greeted me with a gracious and at the same time coaxing nod of her head and in a very sweet voice, which thrilled me deliciously, she said:
"I am delighted to meet you, Monsieur, but I know you well."