Adeline imagined that Josepha Mirah
--whose portrait by Joseph Bridau was the glory of the adjoining
boudoir--must be a singer of genius, a Malibran, and she expected to
see a real star. She was sorry she had come. But she had been prompted
by a strong and so natural a feeling, by such purely disinterested
devotion, that she collected all her courage for the interview.
Besides, she was about to satisfy her urgent curiosity, to see for
herself what was the charm of this kind of women, that they could
extract so much gold from the miserly ore of Paris mud.
The Baroness looked at herself to see if she were not a blot on all
this splendor; but she was well dressed in her velvet gown, with a
little cape trimmed with beautiful lace, and her velvet bonnet of the
same shade was becoming. Seeing herself still as imposing as any
queen, always a queen even in her fall, she reflected that the dignity
of sorrow was a match for the dignity of talent.
At last, after much opening and shutting of doors, she saw Josepha.
The singer bore a strong resemblance to Allori's _Judith_, which
dwells in the memory of all who have ever seen it in the Pitti palace,
near the door of one of the great rooms. She had the same haughty
mien, the same fine features, black hair simply knotted, and a yellow
wrapper with little embroidered flowers, exactly like the brocade worn
by the immortal homicide conceived of by Bronzino's nephew.
"Madame la Baronne, I am quite overwhelmed by the honor you do me in
coming here," said the singer, resolved to play her part as a great
lady with a grace.
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