ASPASIA'S TOILET  
Aurélie de Saint-Amour might very well have called Coster de Saint-Victor by his name, since she had recognized him; but the handsome young man had many rivals, and consequently many enemies, and to utter his name might have given the signal for his death.
Coster on his side, on regaining consciousness, had recognized her; for, celebrated as she already was for her beauty, she was becoming even better known for her charm of manner and wit—that indispensable complement to beauty that desires to be called queen.
Coster found her marvellously beautiful, but he could vie with Barras neither in point of magnificence nor generosity. Charm and beauty stood him instead of fortune, and he often succeeded with tender words where the most powerful men failed with more material means. Coster was acquainted with all the shameful mysteries of Parisian life, and was incapable of sacrificing a woman's position to a moment of egotism and a mere spark of passion.
Perhaps the beautiful Aspasia, now mistress of an independent fortune sufficient to gratify her desires, and which she was sure of increasing with the notoriety she had already acquired, would have preferred less delicacy and more passion on the young man's part. But in any case she wished to appear beautiful, so that he should love her the more if he remained, and regret her doubly if he were obliged to go away. But whatever her motive, Suzette obeyed her to the letter, uniting all the mysteries of her art to the marvels of nature in making her beautiful, to use her mistress's expression, in that same boudoir into which we introduced our readers in the preceding chapter.
The modern Aspasia, about to assume the dress of the[Pg 276] Aspasia of antiquity, was lying on the same sofa on which they had placed Coster de Saint-Victor; but its position had been changed. It now stood between a small mantel-shelf covered with Sèvres statuettes, and a Psyche in a round frame forming an immense wreath of roses in Dresden china. Enveloped in a cloud of transparent muslin, Aurélie had abandoned her head to Suzette, who was arranging a Greek coiffure; this fashion had been revived by political reminiscences, and particularly by the pictures of David, who was then at the height of his fame. A narrow, blue velvet ribbon covered with diamond stars was drawn about the forehead, and above the chignon, from which fell little curls so light that the faintest breath sufficed to set them waving.
Thanks to the flowers of youth which bloomed in her face, and the peach-like down of her complexion, Aurélie could afford to dispense with the powders and cosmetics with which women in those days, as well as the present, plastered their faces.
She would indeed have lost by them; for the skin of her breast and throat had reflections like mother-of-pearl and silver, whose rosy freshness would have been destroyed by even the smallest touch of cosmetics. Her arms, molded in alabaster, slightly tinted by the rays of dawning day, harmonized marvellously with her bust. Each detail of her body, in fact, seemed like a defiance of the most beautiful models of antiquity and the Renaissance; only that Nature, that wonderful sculptress, seemed to have blended the severity of antique art with the grace and delicacy of the modern.
This beauty was so genuine that its possessor seemed herself not quite accustomed to it; and every time that Suzette took off an article of clothing, uncovering some new portion of her mistress's body, Aurélie smiled ............