"I remember Botticelli's Venus on the Shell."
"Yes! Yes!—" said Manfredi. "I like her. But I like others better. You thought her a pretty woman, yes?"
"No—not particularly pretty. But I like her body. And I like the fresh air. I like the fresh air, the summer sea-air all through it—through her as well."
"And her face?" asked the Marchesa, with a slow, ironic smile.
"Yes—she's a bit baby-faced," said Aaron.
"Trying to be more innocent than her own common-sense will let her," said the Marchesa.
"I don't agree with you, Nan," said her husband. "I think it is just that wistfulness and innocence which makes her the true Venus: the true modern Venus. She chooses not to know too much. And that is her attraction. Don't you agree, Aaron? Excuse me, but everybody speaks of you as Aaron. It seems to come naturally. Most people speak of me as Manfredi, too, because it is easier, perhaps, than Del Torre. So if you find it easier, use it. Do you mind that I call you Aaron?"
"Not at all. I hate Misters, always."
"Yes, so do I. I like one name only."
The little officer seemed very winning and delightful to Aaron this evening—and Aaron began to like him extremely. But the dominating consciousness in the room was the woman's.
"Do you agree, Mr. Sisson?" said the Marchesa. "Do you agree that the mock-innocence and the sham-wistfulness of Botticelli's Venus are her great charms?"
"I don't think she is at all charming, as a person," said Aaron. "As a particular woman, she makes no impression on me at all. But as a picture—and the fresh air, particularly the fresh air. She doesn't seem so much a woman, you know, as the kind of out-of-doors morning-feelings at the seaside."
"Quite! A sort of sea-scape of a woman. With a perfectly sham innocence. Are you as keen on innocence as Manfredi is?"
