at Court; whereupon Countess L6wenjoul had executed her curtsey, with an evasive glance from her eyes.
This scene, Imma Spoelmann in the presence of Albrecht, long remained the favourite topic of conversation, and although it had passed, as it was bound to pass, without anything unusual happening, yet its charm and importance must not be overlooked. It was not indeed the climax of the evening. That, in the eyes of many, was the Quadrille d'honneur; in the eyes of others, the supper,—in reality, however, it was a secret duologue between the two chief actors in the piece, a short, unnoticed exchange of words, whose contents and actual result the public could only guess—the settlement of certain tender struggles on horseback and on foot.
As to the Quadrille d'honneur, there were people who declared next day that Miss Spoelmann had danced in it, with Prince Klaus Heinrich as her partner. Only the first part of this story was correct. Miss Spoelmann had taken part in the solemn dance, but as the British Consul's part ner and Prince Klaus Heinrich's vis-à-vis. This was fairly strong, but what was still stronger was that the majority of the guests did not consider it an unheard-of thing, but on the contrary almost a matter of course.
Yes, Imma Spoelmann's position was established; the popular conception of her personality—as the public learned next day—had prevailed in the Court ballroom, and, what is more, Herr von Knobelsdorff had taken care that this conception should be expressed with all the publicity he thought desirable. Not with distinctive or aggressive respect; no, Imma Spoelmann had been treated ceremoniously, and at the same time with systematic, intentional emphasis. The two Masters of the Ceremonies on duty—Chamberlains in rank—had introduced selected dancers to her; and when she had left her place, close by the low red platform where the Grand Ducal family sat on damask
