“Oh, you have already paid me,” he said, with a tormented smile, refusing her offer. Before he left, he secretly opened his portfolio, and let me look inside. I was startled. Her head looked at me as if out of a mirror and seemed actually to be alive. “I shall take it along,” he said, “it is mine; she can’t take it away from me. I have earned it with my heart’s blood.” * * * * * “I am really rather sorry for the poor painter,” she said to me to-day, “it is absurd to be as virtuous as I am. Don’t you think so too?” I did not dare to reply to her. “Oh, I forgot that I am talking with a slave; I need some fresh air, I want to be diverted, I want to forget. “The carriage, quick!” Her new dress is extravagant: Russian half-boots of violet-blue velvet trimmed with ermine, and a skirt of the same material, decorated with narrow stripes and rosettes of furs. Above it is an appropriate, close-fitting jacket, also richly trimmed and lined with ermine. The headdress is a tall cap of ermine of the style of Catherine the Second, with a small aigrette, held in place by a diamond-agraffe; her red hair falls loose down her back. She ascends on the driver’s seat, and holds the reins herself; I take my seat behind. How she lashes on the horses! The carriage flies along like mad. Apparently it is her intention to attract attention to-day, to make conquests, and she succeeds completely. She is the lioness of the Cascine. People nod to her from carriages; on the footpath people gather in groups to discuss her. She pays no attention to anyone, except now and then acknowledging the greetings of elderly gentlemen with a slight nod. Suddenly a young man on a lithe black horse dashes up at full speed. As soon as he sees Wanda, he stops his horse and makes it walk. When he is quite close, he stops entirely and lets her pass. And she too sees him—the lioness, the lion. Their eyes meet. She madly drives past him, but she cannot tear herself free from the magic power of his look, and she turns her head after him. My heart stops when I see the half-surprised, half-enraptured look with which she devours him, but he is worthy of it. For he is, indeed, a magnificent specimen of man, No, rather, he is a man whose like I have never yet seen among the living. He is in the Belvedere, graven in marble, with the same slender, yet steely musculature, with the same face and the same waving curls. What makes him particularly beautiful is that he is beardless. If his hips were less narrow, one might take him for a woman in disguise. The curious expression about the mouth, the lion’s lip which slightly discloses the teeth beneath, lends a flashing tinge of cruelty to the beautiful face— Apollo flaying Marsyas. He wears high black boots, closely fitting breeches of white leather, short fur coat of black cloth, of the kind worn by Italian cavalry officers, trimmed with astrakhan and many rich loops; on his black locks is a red fez.