The rest of Mademoiselle Eugénie’s person was in perfect keeping with the head just described; she, indeed, reminded one of Diana, as Château-Renaud observed, but her bearing was more haughty and resolute.
As regarded her attainments, the only fault to be found with them was the same that a fastidious connoisseur might have found with her beauty, that they were somewhat too erudite and masculine for so young a person. She was a perfect linguist, a first-rate artist, wrote poetry, and composed music; to the study of the latter she professed to be entirely devoted, following it with an indefatigable perseverance, assisted by a schoolfellow,—a young woman without fortune whose talent promised to develop into remarkable powers as a singer. It was rumored that she was an object of almost paternal interest to one of the principal composers of the day, who excited her to spare no pains in the cultivation of her voice, which might hereafter prove a source of wealth and independence. But this counsel effectually decided Mademoiselle Danglars never to commit herself by being seen in public with one destined for a theatrical life; and acting upon this principle, the banker’s daughter, though perfectly willing to allow Mademoiselle Louise d’Armilly (that was the name of the young virtuosa) to practice with her through the day, took especial care not to be seen in her company. Still, though not actually received at the Hôtel Danglars in the light of an acknowledged friend, Louise was treated with far more kindness and consideration than is usually bestowed on a governess.