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"But I don't make any sweeping criticism for or against any opera or any composer," Philip replied. "Carmen always appealed to me somehow for its utter naturalness: I may be wrong, I dare say I am. Well, it was at the scene where Michavel tries to persuade the soldier lover to go home — the scene with the banditti in the mountains, you know — when I was suddenly conscious of a new presence in the house, not upon the stage, but in the theatre. I had glanced aside for a moment, and in the box immediately opposite — Lady Marchmount's box, in fact — I saw a face partially hidden among the curtains, pale, earnest, with great bright eyes, and a halo of dark red hair; the lips were parted, the face all eager and wonderfully beautiful, and it seemed to me as if the eloquent eyes fell upon mine. I was fascinated; as I gazed the face gradually withdrew into the shadow of the box. When the act was at an end I visited Lady Marchmount. While I shook hands with her ladyship, I looked round her box. 'You expected Lord Marchmount?' she said. 'He is obliged to be at the House; but I think he will come before the end of the last act. My girls are with their aunt; I am quite alone. Will you not sit?' I thought she seemed to be talking and explaining why she was alone for the sake of putting me off my inquiry as to the lady who was in the box during the bandit scene; I don't know what made me think so. 'But the lady,' I said, 'who was here a few minutes since?' 'What lady?' she asked. 'She was at the back of the box' I said. 'I have had no visitor that I am aware of, except yourself.' 'I beg your pardon, perhaps it was in the next box; I am sure you will forgive my curiosity, Lady Marchmount, but it was a very remarkable and beautiful face, and it went straight home to my imagination as the very face I want for a picture I am going to paint.' 'That is a convenient excuse you artists make for introductions to pretty women,
