Vendetta | Page 8

this epoch, and of the horror inspired by the Bonapartists. However insignificant and petty Amelie's action may now seem to be, it was at that time a very natural expression of the prevailing hatred. Ginevra Piombo, one of Servin's first pupils, had occupied the place that was now taken from her since the first day of her coming to the studio. The aristocratic circle had gradually surrounded her. To drive her from a place that in some sense belonged to her was not only to insult her, but to cause her a species of artistic pain; for all artists have a spot of predilection where they work.
Nevertheless, political prejudice was not the chief influence on the conduct of the Right clique of the studio. Ginevra, much the ablest of Servin's pupils, was an object of intense jealousy. The master testified as much admiration for the talents as for the character of his favorite pupil, who served as a conclusion to all his comparisons. In fact, without any one being able to explain the ascendancy which this young girl obtained over all who came in contact with her, she exercised over the little world around her a prestige not unlike that of Bonaparte upon his soldiers.
The aristocracy of the studio had for some days past resolved upon the fall of this queen, but no one had, as yet, ventured to openly avoid the Bonapartist. Mademoiselle Thirion's act was, therefore, a decisive stroke, intended by her to force the others into becoming, openly, the accomplices of her hatred. Though Ginevra was sincerely loved by several of these royalists, nearly all of whom were indoctrinated at home with their political ideas, they decided, with the tactics peculiar to women, that they should do best to keep themselves aloof from the quarrel.
On Ginevra's arrival she was received, as we have said, in profound silence. Of all the young women who had, so far, come to Servin's studio, she was the handsomest, the tallest, and the best made. Her carriage and demeanor had a character of nobility and grace which commanded respect. Her face, instinct with intelligence, seemed to radiate light, so inspired was it with the enthusiasm peculiar to Corsicans,--which does not, however, preclude calmness. Her long hair and her black eyes and lashes expressed passion; the corners of her mouth, too softly defined, and the lips, a trifle too marked, gave signs of that kindliness which strong beings derive from the consciousness of their strength.
By a singular caprice of nature, the charm of her face was, in some degree, contradicted by a marble forehead, on which lay an almost savage pride, and from which seemed to emanate the moral instincts of a Corsican. In that was the only link between herself and her native land. All the rest of her person, her simplicity, the easy grace of her Lombard beauty, was so seductive that it was difficult for those who looked at her to give her pain. She inspired such keen attraction that her old father caused her, as matter of precaution, to be accompanied to and from the studio. The only defect of this truly poetic creature came from the very power of a beauty so fully developed; she looked a woman. Marriage she had refused out of love to her father and mother, feeling herself necessary to the comfort of their old age. Her taste for painting took the place of the passions and interests which usually absorb her sex.
"You are very silent to-day, mesdemoiselles," she said, after advancing a little way among her companions. "Good-morning, my little Laure," she added, in a soft, caressing voice, approaching the young girl who was painting apart from the rest. "That head is strong,--the flesh tints a little too rosy, but the drawing is excellent."
Laure raised her head and looked tenderly at Ginevra; their faces beamed with the expression of a mutual affection. A faint smile brightened the lips of the young Italian, who seemed thoughtful, and walked slowly to her easel, glancing carelessly at the drawings and paintings on her way, and bidding good-morning to each of the young girls of the first group, not observing the unusual curiosity excited by her presence. She was like a queen in the midst of her court; she paid no attention to the profound silence that reigned among the patricians, and passed before their camp without pronouncing a single word. Her absorption seemed so great that she sat down before her easel, opened her color-box, took up her brushes, drew on her brown sleeves, arranged her apron, looked at her picture, examined her palette, without, apparently, thinking of what she was doing. All heads in the group of the bourgeoises were turned toward her. If the young ladies in the Thirion camp did not show their