Josephine was an artist. In Paris she was a friend of a very fashionable dressmaker and decorator, master of modern elegance. Sometimes she designed dresses for him, and sometimes she accepted from him a commission to decorate a room. Usually at her last sou, it gave her pleasure to dispose of costly and exquisite things for other people, and then be rid of them.

This evening her dress was a simple, but a marvellously poised thing of black and silver: in the words of the correct journal. With her tight, black, bright hair, her arched brows, her dusky–ruddy face and her bare shoulders; her strange equanimity, her long, slow, slanting looks; she looked foreign and frightening, clear as a cameo, but dark, far off. Julia was the English beauty, in a lovely blue dress. Her hair was becomingly untidy on her low brow, her dark blue eyes wandered and got excited, her nervous mouth twitched. Her high–pitched, sing– song voice and her hurried laugh could be heard in the theatre. She twisted a beautiful little fan that a dead artist had given her.

Not being fashionable, they were in the box when the overture began. The opera was Verdi—Aida. If it is impossible to be in an important box at the opera without experiencing the strange intoxication of social pre–eminence, it is just as impossible to be there without some feeling of horror at at the sight the stage presents.

Josephine leaned her elbow and looked down: she knew how arresting that proud, rather stiff bend of her head was. She had some aboriginal American in her blood. But as she looked, she pursed her mouth. The artist in her forgot everything, she was filled with disgust. The sham Egypt of Aida hid from her nothing of its shame. The singers were all colour–washed, deliberately colour–washed to a bright orange tint. The men had oblong dabs of black wool under their lower lip; the beard of the mighty Pharaohs. This oblong dab shook and wagged to the singing.

The vulgar bodies of the fleshy women were unendurable. They all looked such good meat. Why were their haunches so prominent? It was a question Josephine could not solve. She scanned their really expensive, brilliant clothing. It was nearly right—nearly splendid. It only lacked that last subtlety which the world always lacks, the last final clinching which puts calm into a sea of fabric, and yet is the opposite pole to machine fixity.

But the leading tenor was the chief pain. He was large, stout, swathed in a cummerbund, and looked like a eunuch. This fattish, emasculated look seems common in stage heroes—even the extremely popular. The tenor sang bravely, his mouth made a large, coffin–shaped, yawning gap in his orange face, his little beard fluttered oddly, like a tail. He turned up his eyes to Josephine’s box as he sang—that being the regulation direction. Meanwhile his abdomen shook as he caught his breath, the flesh of his fat, naked arms swayed.

Josephine looked down with the fixed gravity of a Red Indian, immovable, inscrutable. It was not till the scene was ended that she lifted her head as if breaking a spell, sent the point of her tongue rapidly over her dried lips, and looked round into the box. Her brown eyes expressed shame, fear, and disgust. A curious grimace went over her face—a grimace only to be expressed by the exclamation Merde!But she was mortally afraid of society, and its fixed institutions. Rapidly she scanned the eyes of her friends in the box. She rested on the eyes of Lilly, a dark, ugly man.

“How are you getting on?”

“Oh, so so. Nothing to complain of. I have been out to Streatham since I saw you last, but I did not call at the house. It is a very sweet little problem, and I would not have missed it for a good deal. However, I must not sit gossiping here, but must get these disreputable clothes off and return to my highly respectable self.”

I could see by his manner that he had stronger reasons for satisfaction than his words alone would imply. His eyes twinkled, and there was even a touch of colour upon his sallow cheeks. He hastened upstairs, and a few minutes later I heard the slam of the hall door, which told me that he was off once more upon his congenial hunt.

I waited until midnight, but there was no sign of his return, so I retired to my room. It was no uncommon thing for him to be away for days and nights on end when he was hot upon a scent, so that his lateness caused me no surprise. I do not know at what hour he came in, but when I came down to breakfast in the morning there he was with a cup of coffee in one hand and the paper in the other, as fresh and trim as possible.

“You will excuse my beginning without you, Watson,” said he, “but you remember that our client has rather an early appointment this morning.”

“Why, it is after nine now,” I answered. “I should not be surprised if that were he. I thought I heard a ring.”

It was, indeed, our friend the financier. I was shocked by the change which had come over him, for his face which was naturally of a broad and massive mould, was now pinched and fallen in, while his hair seemed to me at least a shade whiter. He entered with a weariness and lethargy which was even more painful than his violence of the morning before, and he dropped heavily into the armchair which I pushed forward for him.

“I do not know what I have done to be so severely tried,” said he. “Only two days ago I was a happy and prosperous man, without a care in the world. Now I am left to a lonely and dishonoured age. One sorrow comes close upon the heels of another. My niece, Mary, has deserted me.”

“Deserted you?”

“Yes. Her bed this morning had not been slept in, her room was empty, and a note for me lay upon the hall table. I had said to her last night, in sorrow and not in anger, that if she had married my boy all might have been well with him. Perhaps it was thoughtless of me to say so. It is to that remark that she refers in this note:

“MY DEAREST UNCLE:

“I feel that I have brought trouble upon you, and that if I had acted differently this terrible misfortune might never have occurred. I cannot, with this thought in my mind, ever again be happy under your roof, and I feel that I must leave you forever. Do not worry about my future, for that is provided for; and, above all, do not search for me, for it will be fruitless labour and an ill-service to me. In life or in death, I am ever

“Your loving

“MARY.