THE PRINCE
Florentine sculptors in the great time had loved and of which the apparent firmness is expressed in their old silver and old bronze. He knew her narrow hands, he knew her long fingers and the shape and colour of her finger-nails, he knew her special beauty of movement and line when she turned her back, and the perfect working of all her main attachments, that of some wonderful finished instrument, something intently made for exhibition, for a prize. He knew above all the extraordinary fineness of her flexible waist, the stem of an expanded flower, which gave her a likeness also to some long loose silk purse, well filled with gold-pieces, but having been passed empty through a finger-ring that held it together. It was as if, before she turned to him, he had weighed the whole thing in his open palm and even heard a little the chink of the metal. When she did turn to him it was to recognise with her eyes what he might have been doing. She made no circumstance of thus coming upon him, save so far as the intelligence in her face could at any moment make a circumstance of almost anything. If when she moved off she looked like a huntress, she looked when she came nearer like his notion, perhaps not wholly correct, of a muse. But what she said was simply: "You see you're not rid of me. How is dear Maggie?"
It was to come soon enough by the quite unforced operation of chance, the young man's opportunity to ask her the question suggested by Mrs. Assingham shortly before her entrance. The licence, had he chosen to embrace it, was within a few minutes all there—the licence given him literally to enquire of
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