figure. The hair was worn low upon the neck, and the jewels which had blazed in her coiffure like a dazzling crown were no longer in evidence. With them had gone the pendants from her ears, and that coruscating circlet of diamonds from the neck, which was her chief pride and most valuable single possession. There was not even a band of gold upon her arms, nor a ring upon her tapering finger. Hence what the admiring circle seemed to see was not something brilliant because bedizened, but a creature exquisite because genuine, a beauty depending for its power solely upon nature's comeliness.
No woman with less beauty or less art, desiring to be admired as Marien Dounay passionately did, could have dared this contrast successfully. No one who knew men less thoroughly than she would have understood that for a purely professional artist to attain this look of a simple womanly woman was the greatest possible triumph, stirring every instinct of admiration and of chivalry.
And whatever was at the back of the trick Miss Dounay had played—and there was generally something back of her caprices—in thrusting John Hampstead, with whom she had practically quarreled, into this group of guests, she appeared to forget him entirely in the succession of whims, moods, and graces with which she proceeded to their entertainment.
For one thing, she admitted them to the large room which served as her boudoir, into which they had seen her go in gold and spangles to emerge like a miracle in demure black velvet.
Of course, there was an excuse for thus titillating the curiosity of vigorous men with that lure of mysterious enchantment which lurks in the boudoir of a lovely woman, and the excuse was that the room, while half-boudoir, was also half-studio, and held tables on which were displayed the models of the stage sets and the cos-
