The reader is now informed of the history of Irene, which is to he remembered as of an important personage in the succeeding pages. Knowing also how she became possessed of the palace we have been at some pains to describe, he is prepared to see her at home.
The night has retreated from the European shore of the Bosphorus, although the morning is yet very young. The sun in the cloudless sky beyond Becos, where it appears standing as if to rest from the fatigue of climbing the hills, is lifting Therapia bodily out of its sparkling waters. In the bay moreover there are many calls of mariner to mariner, and much creaking of windlasses, and clashing of oars cast loose in their leather slings. To make the scene perfectly realistic there is a smell of breakfast cooking, not unpleasant to those within its waftage who are yet to have their appetites appeased. These sights, these sounds, these smells, none of them reach the palace in the garden under the promontory opposite the town. There the birds are singing their matin songs, the flowers loading the air with perfume, and vine and tree drinking the moisture borne down to them from the unresting sea so near in the north. [Footnote: The Black Sea.]
Under the marble portico the mistress is sitting exactly in the place we can imagine the old Greek loved most what time he read from his masterful copy of Homer. Between columns she saw the Bosphorean expanse clear to the wooded Asiatic shore. Below was a portion of the garden through which the walk ran, with a graceful curve, to the red kiosk by the front gate. Just beyond it the landing lay. Around her were palm and rose trees in painted tubs, and in their midst, springing from a tall vase carven over with mythologic figures, a jasmine vine affected all the graces of its most delicate nature. Within reach of her right hand there were platters of burnished brass on a table of ebony, its thin, spider legs inlaid with silver in lines. One of the platters bore a heap of white biscuits such as at this day are called crackers; the others supported pitchers, and some drinking cups, all of silver.
The mistress sat in an arm-chair very smooth in finish despite the lineations sunk into its surfaces, and so roomy as to permit her to drop easily into a half-reclining posture. A footstool dressed in dark stamped leather was ready to lend its aid to gracefulness and comfort.
We will presume now to introduce the reader to the Princess Irene, though, as the introduction must be in the way of description, our inability to render the subject adequately is admitted in advance.
At the moment of first sight, she is sitting erect, her head turned slightly to the left shoulder, and both hands resting on the dog's head garnishing the right arm of the chair. She is gazing abstractedly out at the landing, as if waiting for some one overdue. The face is uncovered; and it is to be said here that, abhorring the custom which bound her Byzantine sisterhood to veils, except when in the retiracy of their chambers, she was at all times brave enough to emphasize the abhorrence by discarding the encumbrance. She was never afraid of the effects of the sun on her complexion, and had the art of moving modestly and with composure among men, who, on their side, were used in meeting her to conceal their admiration and wonder under cover of grave respect.
Her figure, tall, slender, perfectly rounded, is clad in drapery of the purest classic mode. Outwardly it consists of but two garments--a robe of fine white woollen stuff, and over it a mantle of the same texture and hue, hanging from a yoke of close-fitting flesh-colored silk richly embroidered with Tyrian floss. A red rope loosely twisted girdles her body close under the breasts, from which, when she is standing, the gown in front falls to the feet, leaving a decided train. The mantle begins at a point just in front of the arm, under which, and along the sides, it hangs, like a long open sleeve, being cut away behind about half down the figure. The contrivance of the yoke enabled the artist, by gathering the drapery, to determine the lines in which it should drop, and they were few but positive. In movement, the train was to draw the gown to the form so its outlines could be easily followed from the girdle.
The hair, of the tint of old gold, is dressed in the Grecian style; and its abundance making the knot unusually ample, there was necessity for the two fillets of pink silk to keep it securely in place.
The real difficulty in the description is now reached. To a reader of sharp imagination it might be sufficient to say the face of the Princess Irene, seen the morning in question, was perfectly regular, the brows like pencilling, the nose delicate, the eyes of violet shading into blackness, the mouth small with deep corners and lips threads of scarlet, the cheeks and brow precisely as the received law of beauty would have them. This would authorize a conception of surpassing loveliness; and perhaps it were better did we stop with the suggestions given, since the fancy would then be left to do its own painting. But patience is besought, for vastly more than a face of unrivalled perfection, the conjuration is a woman who yet lives in history as such a combination of intellect, spirit, character, and personal charm that men, themselves rulers and conquerors, fell before her at sight. Under necessity therefore of going on with the description, what words are at command to convey an idea of the complexion--a property so wholly unartificial with her that the veins at the temples were as transparent shadows on snow, and the coloring of the cheeks like a wash of roses? What more is there than to point to the eyes of the healthful freshness peculiar to children of tender nurture; the teeth exquisitely regular and of the whiteness of milk and the lustre of pearls; the ears small, critically set, and tinted pink and white, like certain shells washed ashore last night? What more? Ah, yes! There are the arms bare from the shoulder, long and round as a woman's should be, and terminating in flexile wrists, and hands so gracefully modelled we shrink from thought of their doing more than making wreaths of flowers and playing with harp strings. There too is the pose of the head expressive of breeding and delicacy of thought and feeling, of pride and courage--the pose unattainable by effort or affectation, and impossible except where the head, itself faultless, is complemented by a neck long, slender, yet round, pliant, always graceful, and set upon shoulders the despair of every one but the master who found perfection of form and finish in the lilies of the Madonna. Finally there is the correspondence, in action as well as repose, of body, limbs, head, and face, to which, under inspiration of the soul, the air and manner of lovely women are always referable.
The Princess was yet intensely observing the stretch of water before her, and the rapid changes of the light upon its face, when a boat, driven by a single oarsman, drew up to the landing, and disembarked a passenger. That he was not the person she was expecting became instantly apparent. She glanced a............