THE BOUDOIR

In the setting of her own boudoir Madame Piriac equalled, and in some ways surpassed, the finest pictures which Audrey had imagined of her. Her evening dress made Audrey doubt whether after all her own was the genuine triumph which she had supposed; in Madame Piriac’s boudoir, and close by Madame Piriac, it had disconcertingly the air of being an ingenious but unconvincing imitation of the real thing.

 

But Madame Piriac’s dress had the advantage of being worn with the highest skill and assurance; Madame Piriac knew what the least fold of her dress was doing, in the way of effect, on the floor behind her back. And Madame Piriac was mistress, not only of her dress, but of herself and all her faculties¹. A handsome woman, rather more than slim, but not plump, she had an expression of confidence, of knowing exactly what she was about, of foreseeing all her effects, which Audrey envied more than she had ever envied anything.

 

As soon as Audrey came into the room she had said to herself: “I will have a boudoir like this.” It was an interior in which every piece of furniture was loaded with objects personal to its owner. So many signed photographs, so much remarkable² bric-à-brac, so many intimate contrivances of ornamental³ comfort, Audrey had never before seen within four walls. The chandelier, comprising ten thousand crystals, sparkled down upon a complex aggregate⁴ of richness overwhelming to everybody except Madame Piriac, who subdued⁵ it, understood it, and had the key to it. Audrey wondered how many servants took how many hours to dust the room. She was sure, however, that whatever the number of servants required, Madame Piriac managed them all to perfection. She longed violently to be as old as Madame Piriac, whom she assessed at twenty-nine and a half, and to be French, and to know all about everything in life as Madame Piriac did. Yet at the same time she was extremely determined⁶ to be Audrey, and not to be

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