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- Фрэнк Норрис
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- Спрут: Калифорнийская история
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- Стр. 175/416
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They
entered
the
room
—
this
unfamiliar
masculine
haunt
,
where
their
husbands
,
brothers
,
and
sons
spent
so
much
of
their
time
—
with
a
certain
show
of
hesitancy
and
little
,
nervous
,
oblique
glances
,
moving
their
heads
from
side
to
side
like
a
file
of
hens
venturing
into
a
strange
barn
.
They
came
in
groups
,
ushered
by
a
single
member
of
the
club
,
doing
the
honours
with
effusive
bows
and
polite
gestures
,
indicating
the
various
objects
of
interest
,
pictures
,
busts
,
and
the
like
,
that
decorated
the
room
.
Fresh
from
his
recollections
of
Bonneville
,
Guadalajara
,
and
the
dance
in
Annixter
’
s
barn
,
Presley
was
astonished
at
the
beauty
of
these
women
and
the
elegance
of
their
toilettes
.
The
crowd
thickened
rapidly
.
A
murmur
of
conversation
arose
,
subdued
,
gracious
,
mingled
with
the
soft
rustle
of
silk
,
grenadines
,
velvet
.
The
scent
of
delicate
perfumes
spread
in
the
air
,
Violet
de
Parme
,
Peau
d
’
Espagne
.
Colours
of
the
most
harmonious
blends
appeared
and
disappeared
at
intervals
in
the
slowly
moving
press
,
touches
of
lavender
-
tinted
velvets
,
pale
violet
crepes
and
cream
-
coloured
appliqued
laces
.
There
seemed
to
be
no
need
of
introductions
.
Everybody
appeared
to
be
acquainted
.
There
was
no
awkwardness
,
no
constraint
.
The
assembly
disengaged
an
impression
of
refined
pleasure
.
On
every
hand
,
innumerable
dialogues
seemed
to
go
forward
easily
and
naturally
,
without
break
or
interruption
,
witty
,
engaging
,
the
couple
never
at
a
loss
for
repartee
.
A
third
party
was
gracefully
included
,
then
a
fourth
.
Little
groups
were
formed
,
—
groups
that
divided
themselves
,
or
melted
into
other
groups
,
or
disintegrated
again
into
isolated
pairs
,
or
lost
themselves
in
the
background
of
the
mass
,
—
all
without
friction
,
without
embarrassment
,
—
the
whole
affair
going
forward
of
itself
,
decorous
,
tactful
,
well
-
bred
.
At
a
distance
,
and
not
too
loud
,
a
stringed
orchestra
sent
up
a
pleasing
hum
.
Waiters
,
with
brass
buttons
on
their
full
dress
coats
,
went
from
group
to
group
,
silent
,
unobtrusive
,
serving
salads
and
ices
.
But
the
focus
of
the
assembly
was
the
little
space
before
Hartrath
’
s
painting
.
It
was
called
“
A
Study
of
the
Contra
Costa
Foothills
,
”
and
was
set
in
a
frame
of
natural
redwood
,
the
bark
still
adhering
.
It
was
conspicuously
displayed
on
an
easel
at
the
right
of
the
entrance
to
the
main
room
of
the
club
,
and
was
very
large
.
In
the
foreground
,
and
to
the
left
,
under
the
shade
of
a
live
-
oak
,
stood
a
couple
of
reddish
cows
,
knee
-
deep
in
a
patch
of
yellow
poppies
,
while
in
the
right
-
hand
corner
,
to
balance
the
composition
,
was
placed
a
girl
in
a
pink
dress
and
white
sunbonnet
,
in
which
the
shadows
were
indicated
by
broad
dashes
of
pale
blue
paint
.
The
ladies
and
young
girls
examined
the
production
with
little
murmurs
of
admiration
,
hazarding
remembered
phrases
,
searching
for
the
exact
balance
between
generous
praise
and
critical
discrimination
,
expressing
their
opinions
in
the
mild
technicalities
of
the
Art
Books
and
painting
classes
.
They
spoke
of
atmospheric
effects
,
of
middle
distance
,
of
“
chiaro
-
oscuro
,
”
of
fore
-
shortening
,
of
the
decomposition
of
light
,
of
the
subordination
of
individuality
to
fidelity
of
interpretation
.
One
tall
girl
,
with
hair
almost
white
in
its
blondness
,
having
observed
that
the
handling
of
the
masses
reminded
her
strongly
of
Corot
,
her
companion
,
who
carried
a
gold
lorgnette
by
a
chain
around
her
neck
,
answered
:
“
Ah
!
Millet
,
perhaps
,
but
not
Corot
.
”
This
verdict
had
an
immediate
success
.
It
was
passed
from
group
to
group
.
It
seemed
to
imply
a
delicate
distinction
that
carried
conviction
at
once
.
It
was
decided
formally
that
the
reddish
brown
cows
in
the
picture
were
reminiscent
of
Daubigny
,
and
that
the
handling
of
the
masses
was
altogether
Millet
,
but
that
the
general
effect
was
not
quite
Corot
.
