The Amouretta landscape, and other storiesAdams, Adeline
General
The Amouretta landscape, and other stories
Adams, Adeline
American fiction -- 20th century; Short stories, American
Mrs. Blakeney’s bag held a key, with which she opened a highboy, gleaming
discreetly from a nook just beyond the fireplace. Its shelves were laden
with treasure; and Flickey, although long inured to the surprises that
a collector can spring upon his family, exclaimed with joy before those
marshalled riches. For Felicia, like her father before her, was fated
to pursue beauty; even her girlish mistakes—her collection of athletic
collegians, for example, her amethystine earrings, her overwrought,
overworking dinner-ring in all its preposterousness—resulted from her
thirst after loveliness rather than from her vanity. Jimmy himself was to
her largely one last pure product of the beautiful. In Mrs. Blakeney’s
drawing-room, before the highboy and its spoils, her eyes filled with
tears of thankfulness for beauty. She felt that the ranks of silver
vessels beaming and gleaming upon her had in some mysterious way gathered
into themselves and greatly multiplied all over their surfaces all
possible beauty from all known worlds, only to reflect it back upon
those who were fortunate enough to be near. Not only the faded rose of
the hangings and the dim gray of the panelling and the dusky orange
outline of the spinet were reflected winkingly from those silver shapes;
it seemed to her that the very fragrance of the pinks and the breath of
summer itself were wafted to her by silver voices. Flickey sometimes
passed for flippant; but this was not her flippant day. Indeed, she was
startled out of a mood that was partly pleasure and partly prayer by Aunt
Amanda’s matter-of-fact remark,—
“My French stuff, seventeenth and eighteenth centuries. I keep it locked
because—oh, well, there are just a few trifles—Jimmy, reach me down that
top piece, will you, please? The one at the right of the alms basin.”
With a certain grave excitement, Mrs. Blakeney had already placed
Felicia’s drawing upon a little table; she smoothed out the folds of the
paper, especially those that crossed the lacelike handles. Then, with
but a casual glance at the delicately wrought bowl that Jimmy put into
her hands, she set it, with dramatic exactness, over the outline traced
by the child Lydia.
Each one of the trio felt for a moment the touch of a bygone day. There
could be no doubt whatever that the lost piece of silver was found.
Unless, indeed, as the young lawyer’s mind profanely suggested, those
old boys made such things by the gross, like the green spectacles that
Moses bought! But the surmise was too grotesque for utterance. Even with
his slender knowledge of the silversmith’s art, he could discern that
the Fairlee porringer was no machine-made product. It had been created
by many touches, but by few hands; perhaps by only one pair of hands,
and that a master’s. Felicia’s eyes (not wholly untrained, however
subject to occasional error) rested admiringly, even reverently, on a
master-craftsman’s work.
Public-domain text, read in full here on John Shaqi.
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