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Elöise Bienaimé

by W.


At the head of the semi-spiral stairs, which were of dark wood, protected by a balustrade of the same material, I was shown through an arched doorway on the right, and ushered into a small antechamber, furnished like a boudoir, richly corniced, frescoed, and hung with small Dutch paintings. Madame Bienaimé entered with as little noise as a ghost; the door closed, and we were alone.

“I am conversing with Mr. ––––?” she asked, seating herself upon a fauteuil, and signing me to do the same.

I bowed assent.

“You will excuse the liberty I have taken,” she continued, speaking with the slightest possible accent, “in sending for you. I had a reason.”

The impression was so novel and unexpected, Madame appeared so serious and even severe, I was silent and astonished. Can this, thought I, be the reputed Ninon, the gay and dissipated Elöise Bienaimé––the intimate of Madame Sand, and the patron saint of the artists? Oh! world, what a liar art thou!

The woman before me might have reached her fortieth year, retaining the beauty and freshness of twenty-one, with the bearing of a matron. Her cheeks were not sullied by paint, and her chestnut hair fell in a shower of natural ringlets over a neck and shoulders snowy white. In her eyes––large, soft, and of a changeable hue––lay the possibility of every expression. “She is an actress,” I thought. “We have our scene to enact. The rôle of Madame is dignified and impressive––mine is to be impressible.” The parts were distributed, and the play began.

She… Read More