know?"
He shook his head until a black lock fell over his pale forehead. "I did not. It was finished by the glorified cabinet-maker I employ: it appeared in the window of my place. You must see my place, now your rehearsals are over! You will want beauty to rest your mind – and you will want Me to design your dresses! An hour later the table was snapped up – gone from me forever."
"Ah, but who snapped it?"
Herté looked blank. "Your admiring friend, who knew it belonged, by right of beauty, to you."
"Thanks! But I want you to tell me his – or her – name."
"Are you not acquainted with so much of him?"
"I'm not. And I'm dying to be, because the gentleman is anonymous – a great unknown!"
"I am sure he is great, as a judge of art and ladies. But that is all I am sure of, beautiful Dolores."
"Monsieur Herté, you are hiding his secret!"
"I could hide no secret from you. I will tell you all I know. A boy messenger bought the table. A millionaire's boy messenger, perhaps! My manager informed me what had happened. We guessed at once there was a mystery."
"Couldn't you find out?" Marise persisted.
Herté shrugged his sloping shoulders. "Beyond a boy messenger no man can go. He keeps the gate with a flaming sword. But you will find out some day. Meanwhile, be content. You have the latest creation of my brain – of my heart. At present it is the one thing of its kind in existence."
Mrs. Sorel asked Severance if he had sent the table, which, she explained, Marise had found in her dressing-room on arriving there. It had been brought to the theatre by two boy messengers, full of flowers (not the boys, but the table), and no word had been left whence it came. Severance, bitterly jealous of the secret gift (which had, so to speak, taken all the blue paint off his Persian lilies), would gladly have claimed credit had he dared. But the real giver might announce himself at any moment, and be able to prove his bona fides: so Severance made a virtue of necessity. Belloc's supper-party was a "frost" for him, though he sat by the second prettiest girl. He hated Herté and the others, especially a millionaire member of New York's "Four Hundred," who was financially interested in Belloc's schemes – and in his leading ladies.
Severance would have given anything – short of his title and estates, and such money as came with them – to snatch the girl from all the men, who would go on admiring and making love to her when he was far away. He did not know how he could bear to turn his back and leave her to these Americans, who had so much money and so much "cheek." He felt as if he were throwing her to the lions – this exquisite morsel which he coveted for himself, but was unlikely to get on the terms he could offer. Almost, he wished that he had told her the truth in London, and said good-bye to her then. Almost, but not quite; for he simply had not been able to let her go like that. He had to be with her: he had to see the sort of men she would gather round her on the other side of the world.
Well, he had come; and he had seen; and he had made things harder for himself instead of easier. He did not know what he should do next. An arrangement, a compromise, must be thought of. When he spoke, he must have something to propose – some alternative or other. But what under heaven, or in hell, it could be, he had no clear inspiration yet.
Marise ordered the violet-table to be taken from the theatre to the Plaza Hotel, where she and her mother had a suite. She thought it would give her more pleasure there, where much of her time was passed, and the wonderful violets had not lost their freshness: they were so firm and vital that they looked as if they would never fade. But on the second night of "The Song," when Marise arrived in her dressing-room, another anonymous gift awaited her.
It was smaller than the table, but not less original; a black bowl, half full of water bright and pale green as aquamarines, on the surface of which floated three pink pond-lilies. The bowl stood on the star's dressing-table, and, switching on the electric lights, a gleam as of drowned emeralds sparkled under the lilies. Marise cried out in delight, and ran to look for a card. This time he would reveal himself! (She knew it was "he," and that it was the same man who had sent the table.) But no. There was neither card nor note. Messenger boys had brought the bowl. They had driven up in a taxi. If only Marise had dreamed of receiving a second gift from the same source, she would have watched – or even employed a detective. She was so excited and curious that she feared for her acting that night.
With the bowl and the lilies had come a large jar of crystals for tinting the water: green, glittering lumps, like precious stones from Aladdin's Cave, and that was precisely the label on the jar of jewels: "Aladdin's Cave." Marise was childishly thrilled. When Belloc peeped in, she showed her treasures, and learned that "Aladdin's Cave" was the name chosen by a queer artist, new, but famous already for his exhibition-shop in a cellar of that Bohemian haunt known as Greenwich Village.
Next morning the girl went there in a taxi: and when she had bought exotic enamels, and transparent vases filled with synthetic sapphires, she told "Aladdin" about the bowl. Like Herté, he shook his head. He was but another man who "could not go beyond a District messenger boy."
The stage door-keeper was now warned to find out what he could, if another anonymous gift appeared. Also, Céline was sent early to the theatre. Marise could not, however, quite bring herself to engage a detective. She was tempted to do so, and urged by her mother, who had visions of a mysterious millionaire ready to take the place of Severance if the Englishman failed after all. But the girl felt that to set sleuth-hounds on its track would kill romance. It would, she told Mums, be like deliberately rubbing the bloom off hothouse grapes before you ate them. And as it turned out, she was glad she had listened to sentiment; for on the third night her only offerings were chocolates and flowers ticketed conspicuously with their givers' names.
This was like a too abrupt ending to a fairy tale. But, after all, it was only the end of a chapter. On the fourth night a long blue-and-silver box lay across two chairs in the dressing-room. It looked like a box from a smart dressmaker, though no dressmaker's name was visible. "Has Mademoiselle ordered anything?" Céline inquired, as she untied the ribbon-fastenings.
No, Mademoiselle had ordered nothing that day – at least nothing for the theatre. She gave a little gasp as the Frenchwoman removed the box cover and a layer of silver-stencilled blue tissue paper. Underneath filmed a pale blue cloud which Marise snatched up and pronounced to be a "boudoir gown." It was made from a material which fashion names mousseline de soie one year and something else another. It was the blue of bluebells, banded with swansdown and embroidered with silver thistles. Altogether, it might have been created expressly for Miss Sorel by an admiring genius.
"From Herté!" exclaimed Mums.
But Marise knew better, and would pit her own "instinct" against her mother's any day. "No, from Him," she pronounced. "If this goes on much longer without my finding out who He is, I shall simply perish."
And it did go on: not night after night, but stopping, and beginning again just as she thought the giver's invention exhausted or his pockets empty. It went on for ten days, until Marise had received, in addition to the three first gifts, an ancient Italian mirror in a carved silver frame; an exquisite wax doll, modelled and dressed to represent herself as "Dolores" in the third act of "The Spring Song," and an old Sèvres box filled with crystallised violets – evidently his favoured flower.
"He must be rich, or else he's poor, and so in love that he's absolutely beggaring himself for you," said Mrs. Sorel.
Marise volunteered no opinion. But secretly she preferred the second hypothesis. She was used to rich men; but no girl is ever really used to Romance. The mystery thrilled and delighted her, and bored Severance to distraction. He realised
