The splendors of that lovely home, "Madame de Santos'" gracious reception, and a royal offer for his artistic skill, cause him to feel that she is indeed a good fairy.
A modelling room in the splendid residence is assigned him. Count Villa Rocca, who has all an Italian's love of the arts, lingers near Natalie de Santos, with ill-concealed jealousy of the young sculptor. To be handsome, smooth, talented, jealous—all this is Villa Rocca's "m‚tier." He is a true Italian.
CHAPTER XVI. — NEARING EACH OTHER.—THE VALOIS HEIRS.
Paris is a human hive. Thousands labor to restore its beauty. The stream of life ebbs and flows once more on the boulevards. The galleries reopen. Armand labors in the Louvre. He finished the velvet-eyed Madonna, copied after Murillo's magic hand. He chafes under Raoul's laurels. The boy would be a man. Every day the sculptor tells of the home of the wealthy Spaniard. The girl is at her convent again. Raoul meets Madame Natalie "en ami de maison."
He tells of Count Villa Rocca's wooing. Marriage may crown the devotion of the courtly lover.
The bust in marble is a success. Raoul is in the flush of glory. His patroness directs him to idealize for her "Helen of Troy."
Armand selects as his next copy, a grand inspiration of womanly beauty. He, too, must pluck a laurel wreath.
Under the stress of emulation, his fingers tremble in nervous ardor. He has chosen a subject which has myriad worshippers.