with beaming face, came to Lady Jane.
"My family is of Vienna," the Baron was saying to the Marchioness, "but of late years I have called Constantinople my home."
"I understand," said she gently. She asked no other question, but, favouring him with a kindly smile, turned her attention to the men who lurked insignificantly in the shadow of his vast bulk.
The Prince was a pale, dreamy young man with flowing black hair that must have been a constant menace to his vision, judging by the frequent and graceful sweep of his long, slender hand in brushing the encroaching forelock from his eyes, over which it spread briefly in the nature of a veil. He had the fingers of a musician, the bearing of a violinist. His head drooped slightly toward his left shoulder, which was always raised a trifle above the level of the right. And there was in his soft brown eyes the faraway look of the detached. The insignia of his house hung suspended by a red ribbon in the centre of his white shirt front, while on the lapel of his coat reposed the emblem of the Order of the Golden Star. He was a Pole.
Count Von Blitzen, a fair-haired, pink-skinned German, urged himself forward with typical, not-to-be-denied arrogance, and crushed the fingers of the Marchioness in his fat hand. His broad face beamed with an all-enveloping smile.
"Only patriots and lovers venture forth on such nights as this," he said, in a guttural voice that rendered his French almost laughable.
"With an occasional thief or varlet," supplemented the Marchioness.
"Ach, Dieu," murmured the Count.
Fresh arrivals were announced by Cricklewick. For the next ten or fifteen minutes they came thick and fast, men and women of all ages, nationality and condition, and not one of them without a high-sounding title. They disposed themselves about the vast room, and a subdued vocal hubbub ensued. If here and there elderly guests, with gnarled and painfully scrubbed hands, preferred isolation and the pictorial contents of a magazine from the land of their nativity, it was not with snobbish intentions. They were absorbing the news from "home," in the regular weekly doses.
The regal, resplendent Countess du Bara, of the Opera, held court in one corner of the room. Another was glorified by a petite baroness from the Artists' Colony far down-town, while a rather dowdy lady with a coronet monopolized the attention of a small group in the centre of the room.
Lady Jane Thorne and Lord Temple sat together in a dim recess beyond the great chair of state, and conversed in low and far from impersonal tones.
Cricklewick appeared in the doorway and in his most impressive manner announced Her Royal Highness, the Princess Mariana Theresa Sebastano Michelini Celestine di Pavesi.
And with the entrance of royalty, kind reader, you may consider yourself introduced, after a fashion, to the real aristocracy of the City of New York, United States of America,—the titled riff-raff of the world's cosmopolis.
CHAPTER III
THE CITY OF MASKS
NEW YORK is not merely a melting pot for the poor and the humble of the lands of the earth. In its capacious depths, unknown and unsuspected, float atoms of an entirely different sort: human beings with the blood of the high-born and lofty in their veins, derelicts swept up by the varying winds of adversity, adventure, injustice, lawlessness, fear and independence.
Lords and ladies, dukes and duchesses, counts and countesses, swarm to the Metropolis in the course of the speeding year, heralded by every newspaper in the land, fêted and feasted and glorified by a capricious and easily impressed public; they pass with pomp and panoply and we let them go with reluctance and a vociferous invitation to come again. They come and they go, and we are informed each morning and evening of every move they have made during the day and night. We are told what they eat for breakfast, luncheon and dinner; what they wear and what they do not wear; where they are entertained and by whom; who they are and why; what they think of New York and—but why go on? We deny them privacy, and they think we are a wonderful, considerate and hospitable people. They go back to their homes in far-off lands,—and that is the end of them so far as we are concerned.
They merely pause on the lip of the melting pot, briefly peer into its simmering depths, and then,—pass on.
It is not with such as they that this narrative has to deal. It is not of the heralded, the glorified and the toasted that we tell, but of those who slip into the pot with the coarser ingredients, and who never, by any chance, become actually absorbed by the processes of integration but remain for ever as they were in the beginning: distinct foreign substances.
From all quarters of the globe the drift comes to our shores. New York swallows the good with the bad, and thrives, like the cannibal, on the man-food it gulps down with ravenous disregard for consequences or effect. It rarely disgorges.
It eats all flesh, foul or fair, and it drinks good red blood out of the same cup that offers a black and nauseous bile. It conceals its inward revulsion behind a bland, disdainful smile, and holds out its hands for more of the meat and poison that comes up from the sea in ships.
It is the City of Masks.
Its men and women hide behind a million masks; no man looks beneath the mask his neighbour wears, for he is interested only in that which he sees with the least possible effort: the surface. He sees his neighbour but he knows him not. He keeps his own mask in place and wanders among the millions, secure in the thought that all other men are as casual as he,—and as charitable.
From time to time the newspapers come forward with stories that amaze and interest those of us who remain, and always will remain, romantic and impressionable. They tell of the royal princess living in squalor on the lower east side; of the heir to a baronetcy dying in poverty in a hospital somewhere up-town; of the countess who defies the wolf by dancing in the roof-gardens; of the lost arch-duke who has been recognized in a gang of stevedores; of the earl who lands in jail as an ordinary hobo; of the baroness who supports a shiftless husband and their offspring by giving music-lessons; of the retiring scholar who scorns a life of idleness and a coronet besides; of shifty ne'er-do-wells with titles at homes and aliases elsewhere; of fugitive lords and forgotten ladies; of thieves and bauds and wastrels who stand revealed in their extremity as the sons and daughters of noble houses.
In this City of Masks there are hundreds of men and women in whose veins the blood of a sound aristocracy flows. By choice or necessity they have donned the mask of obscurity. They tread the paths of oblivion. They toil, beg or steal to keep pace with circumstance. But the blood will not be denied. In the breast of each of these drifters throbs the pride of birth, in the soul of each flickers the unquenchable flame of caste. The mask is for the man outside, not for the man inside.
Recently there died in one of the municipal hospitals an old flower-woman, familiar for three decades to the thousands who thread their way through the maze of streets in the lower end of Manhattan. To them she was known as Old Peg. To herself she was the Princess Feododric, born to the purple, daughter of one of the greatest families in Russia. She was never anything but the Princess to herself, despite the squalor in which she lived. Her epitaph was written in the bold, black head-lines of the newspapers; but her history was laid away with her mask in a graveyard far from palaces—and flower-stands. Her headstone revealed the uncompromising
