A sleek-looking man in riding clothes stepped down into the box. Fanny Brassfield, who had been craning her neck indignantly, disregarded his outstretched hand to give his arm a push, while crying out:
"Go get her for me, Jimmy. Anna Zanidov. There, with those people in the aisle."
The Russian woman appeared before them in a black turban and a voluminous black cloak. Her flat, vermilion lips were parted in a social smile; but her Tartar eyes remained inscrutable. Her face, wedge-shaped, dead white, with its look of being made from some material more rigid than flesh, was as startling as the countenance of an Oriental image, in its frame of glossy black fur. Sitting down, she assumed that close-kneed hieratic attitude habitual to her, which made Lilla see her once more in the barbarically painted evening gown, amid superstitious women breathless from awe.
"Do you care for this idolatry?" Madame Zanidov asked Lilla, in her precise English. "But then after all so few are here to worship the animals. Perhaps rather to be worshipped," she suggested pleasantly, casting her glance over Lilla's face and costume.
All around her, indeed, Lilla could see the pretty women in their slate-gray and rust-colored cloaks, in their rakish little toques from under which their sophisticated eyes peeped out in search of homage. Some had the expression of those for whom love is an assured phenomenon solving all questions. Others seemed to be waiting impatiently for its advent or its departure. But all, Lilla thought, looked assured either of its persistence or its recurrence. Amid them she felt as isolate as a ghost.
The men approached them with confident smiles, long limbed, with leisurely and supple movements, smart in their heavy tweeds or riding breeches that suggested habits of strenuous exertion. When they removed their hats, one saw their close-clipped heads bending forward confidentially toward the fair faces: and their eyes slowly followed the eyes of the women who were contemplating absentmindedly the rippling muscles of the horses in the arena. A band in a balcony began to play Strauss's Wiener Mad'l, the strains of music muffled by the dust, the lights, the movement of the audience, the pain in Lilla's breast. And the vague savor of stables and flowers, the statuesque postures of beasts and the expectant attitudes of human beings, were suddenly fused together into one hallucination—a flood of sensory impressions at once unreal and too actual, in which Lilla found herself sinking and smothering.
Anna Zanidov was looking at her intently.
"You do not often come to town, they tell me," the Russian murmured.
"No, why should I?" Lilla returned, as if violently aroused from sleep. She saw beyond Anna Zanidov, on the steps of the box, a man whose visage was lined across the forehead and under the cheekbones, and who showed, under his heavy, mouse-colored mustache, a stony, courteous smile.
It was the new face of Cornelius Rysbroek.