Mrs. Landis had for some reason taken a fancy to Alice, and invited her home to lunch with her twice during the show.  And after they had got home in the evening, the girl sat upon the bed in her fur-trimmed wrapper, and told Montague and his mother and Mammy Lucy all about her visit.

“I don’t believe that woman has a thing to do or to think about in the world except to wear clothes!” she said.  “Why, she has adjustable mirrors on ball-bearings, so that she can see every part of her skirts!  And she gets all her gowns from Paris, four times a year—­she says there are four seasons now, instead of two!  I thought that my new clothes amounted to something, but my goodness, when I saw hers!”

Then Alice went on to describe the unpacking of fourteen trunks, which had just come up from the custom-house that day.  Mrs. Virginia’s couturiere had her photograph and her colouring (represented in actual paints) and a figure made up from exact measurements; and so every one of the garments would fit her perfectly.  Each one came stuffed with tissue paper and held in place by a lattice-work of tape; and attached to each gown was a piece of the fabric, from which her shoemaker would make shoes or slippers.  There were street-costumes and opera-wraps, robes de chambre and tea-gowns, reception-dresses, and wonderful ball and dinner gowns.  Most of these latter were to be embroidered with jewellery before they were worn, and imitation jewels were sewn on, to show how the real ones were to be placed.  These garments were made of real lace or Parisian embroidery, and the prices paid for them were almost impossible to credit.  Some of them were made of lace so filmy that the women who made them had to sit in damp cellars, because the sunlight would dry the fine threads and they would break; a single yard of the lace represented forty days of labour.  There was a pastel “batiste de soie” Pompadour robe, embroidered with cream silk flowers, which had cost one thousand dollars.  There was a hat to go with it, which had cost a hundred and twenty-five, and shoes of grey antelope-skin, buckled with mother-of-pearl, which had cost forty.  There was a gorgeous and intricate ball-dress of pale green chiffon satin, with orchids embroidered in oxidized silver, and a long court train, studded with diamonds—­and this had cost six thousand dollars without the jewels!  And there was an auto-coat which had cost three thousand; and an opera-wrap made in Leipsic, of white unborn baby lamb, lined with ermine, which had cost twelve thousand—­with a thousand additional for a hat to match!  Mrs. Landis thought nothing of paying thirty-five dollars for a lace handkerchief, or sixty dollars for a pair of spun silk hose, or two hundred dollars for a pearl and gold-handled parasol trimmed with cascades of chiffon, and made, like her hats, one for each gown.

“And she insists that these things are worth the money,” said Alice.  “She says it’s not only the material in them, but the ideas.  Each costume is a study, like a picture.  ’I pay for the creative genius of the artist,’ she said to me—­’for his ability to catch my ideas and apply them to my personality—­my complexion and hair and eyes.  Sometimes I design my own costumes, and so I know what hard work it is!’”