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He bristled. Color came into his cheeks and he rose defiantly from his bench.

“Why, I’d—I’d——”

“Never mind,” she said, flushing slightly. “You’d do nothing of the kind.”

— ◆ —

Love in the Night.

Saturday Evening Post (14 March 1925)

The words thrilled Val. They had come into his mind sometime during the fresh gold April afternoon and he kept repeating them to himself over and over: “Love in the night; love in the night.” He tried them in three languages—Russian, French and English—and decided that they were best in English. In each language they meant a different sort of love and a different sort of night—the English night seemed the warmest and softest with a thinnest and most crystalline sprinkling of stars. The English love seemed the most fragile and romantic—a white dress and a dim face above it and eyes that were pools of light. And when I add that it was a French night he was thinking about, after all, I see I must go back and begin over.

Val was half-Russian and half-American. His mother was the daughter of that Morris Hasylton who helped finance the Chicago World’s Fair in 1892, and his father was—see the Almanach de Gotha, issue of 1910—Prince Paul Serge Boris Rostoff, son of Prince Vladimir Rostoff, grandson of a grand duke—“Jimber-jawed Serge”—and third-cousin-once-removed to the czar. It was all very impressive, you see, on that side—house in St. Petersburg, shooting lodge near Riga, and swollen villa, more like a palace, overlooking the Mediterranean. It was at this villa in Cannes that the Rostoffs passed the winter—and it wasn’t at all the thing to remind Princess Rostoff that this Riviera villa, from the marble fountain—after Bernini—to the gold cordial glasses—after dinner—was paid for with American gold.

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