The Princess Aline | Page 6

gravely. "You look as a princess should look. I am sure it was one of your ancestors who discovered the dried pea under a dozen mattresses." He closed the paper, and sat for a moment with a perplexed smile of consideration. "Waiter," he exclaimed, suddenly, "send a messenger-boy to Brentano's for a copy of the St. James Budget, and bring me the Almanach de Gotha from the library. It is a little fat red book on the table near the window." Then Carlton opened the paper again and propped it up against a carafe, and continued his critical survey of the Princess Aline. He seized the Almanach, when it came, with some eagerness.
"Hohenwald (Maison de Grasse)," he read, and in small type below it:
"1. Ligne cadette (regnante) grand-ducale: Hohenwald et de Grasse.
"Guillaume-Albert-Frederick-Charles-Louis, Grand-Duc de Hohenwald et de Grasse, etc., etc., etc."
"That's the brother, right enough," muttered Carlton.
And under the heading "Soeurs" he read:
"4. Psse Aline.--Victoria-Beatrix-Louise-Helene, Alt. Gr.-Duc. Nee a Grasse, Juin, 1872."
"Twenty-two years old," exclaimed Carlton. "What a perfect age! I could not have invented a better one." He looked from the book to the face before him. "Now, my dear young lady," he said, "I know all about YOU. You live at Grasse, and you are connected, to judge by your names, with all the English royalties; and very pretty names they are, too--Aline, Helene, Victoria, Beatrix. You must be much more English than you are German; and I suppose you live in a little old castle, and your brother has a standing army of twelve men, and some day you are to marry a Russian Grand-Duke, or whoever your brother's Prime Minister if he has a Prime Minister-decides is best for the politics of your little toy kingdom. Ah! to think," exclaimed Carlton, softly, "that such a lovely and glorious creature as that should be sacrificed for so insignificant a thing as the peace of Europe when she might make some young man happy?"
He carried a copy of the paper to his room, and cut the picture of the group out of the page and pasted it carefully on a stiff piece of card-board. Then he placed it on his dressing-table, in front of a photograph of a young woman in a large silver frame-which was a sign, had the young woman but known it, that her reign for the time being was over.
Nolan, the young Irishman who "did for" Carlton, knew better than to move it when he found it there. He had learned to study his master since he had joined him in London, and understood that one photograph in the silver frame was entitled to more consideration than three others on the writing-desk or half a dozen on the mantel-piece. Nolan had seen them come and go; he had watched them rise and fall; he had carried notes to them, and books and flowers; and had helped to dispose them from the silver frame and move them on by degrees down the line, until they went ingloriously into the big brass bowl on the side table. Nolan approved highly of this last choice. He did not know which one of the three in the group it might be; but they were all pretty, and their social standing was certainly distinguished.
Guido, the Italian model who ruled over the studio, and Nolan were busily packing when Carlton entered. He always said that Guido represented him in his professional and Nolan in his social capacity. Guido cleaned the brushes and purchased the artists' materials; Nolan cleaned his riding-boots and bought his theatre and railroad tickets.
"Guido," said Carlton, "there are two sketches I made in Germany last year, one of the Prime Minister, and one of Ludwig the actor; get them out for me, will you, and pack them for shipping. Nolan," he went on, "here is a telegram to send."
Nolan would not have read a letter, but he looked upon telegrams as public documents, the reading of them as part of his perquisites. This one was addressed to Oscar Von Holtz, First Secretary, German Embassy, Washington, D.C., and the message read:
"Please telegraph me full title and address Princess Aline of Hohenwald. Where would a letter reach her?
"MORTON CARLTON."
The next morning Nolan carried to the express office a box containing two oil-paintings on small canvases. They were addressed to the man in London who attended to the shipping and forwarding of Carlton's pictures in that town.
There was a tremendous crowd on the New York. She sailed at the obliging hour of eleven in the morning, and many people, in consequence, whose affection would not have stood in the way of their breakfast, made it a point to appear and to say goodbye. Carlton, for his part, did not notice them; he knew by experience that the attractive-looking people always