hostess was, indeed, both older and fuller in person; her eyes were of a different colour; her face, besides, was not only free from the ill-significance that offended and attracted me in the painting; it was devoid of either good or bad—a moral blank expressing literally naught. And yet there was a likeness, not so much speaking as immanent, not so much in any particular feature as upon the whole. It should seem, I thought, as if when the master set his signature to that grave canvas, he had not only caught the image of one smiling and false-eyed woman, but stamped the essential quality of a race.
From that day forth, whether I came or went, I was sure to find the Señora seated in the sun against a pillar, or stretched on a rug before the fire; only at times she would shift her station to the top round of the stone staircase, where she lay with the same nonchalance right across my path. In all these days, I never knew her to display the least spark of energy beyond what she expended in brushing and re-brushing her copious copper-coloured hair, or in lisping out, in the rich and broken hoarseness of her voice, her customary idle salutations to myself. These, I think, were her two chief pleasures, beyond that of mere quiescence. She seemed always proud of her remarks, as though they had been witticisms; and, indeed, though they were empty enough, like the conversation of many respectable persons, and turned on a very narrow range of subjects, they were never meaningless or incoherent; nay, they had a certain beauty of their own, breathing, as they did, of her entire contentment. Now she would speak of the warmth, in which (like
