stered as the furniture, beings without definite pursuits or permanent relations, who drifted on a languid tide of curiosity from restaurant to concert-hall, from palm-garden to music-room, from "art exhibit" to dress-maker's opening. High-stepping horses or elaborately equipped motors waited to carry these ladies into vague metropolitan distances, whence they returned, still more wan from the weight of their sables, to be sucked back into the stifling inertia of the hotel routine. Somewhere behind them, in the background of their lives, there was doubtless a real past, peopled by real human activities: they themselves were probably the product of strong ambitions, persistent energies, diversified contacts with the wholesome roughness of life; yet they had no more real existence than the poet's shades in limbo.
Lily had not been long in this pallid world without discovering that Mrs. Hatch was its most substantial figure. That lady, though still floating in the void, showed faint symptoms of developing an outline; and in this endeavour she was actively seconded by Mr. Melville Stancy. It was Mr. Stancy, a man of large resounding presence, suggestive of convivial occasions and of a chivalry finding expression in "first-night" boxes and thousand dollar bonbonnières, who had transplanted Mrs. Hatch from the scene of her first development to the higher stage of hotel life in the metropolis. It was he who had selected the horses with which she had taken the blue ribbon at
