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Blender 3D Asset Creation
for the Metaverse

Unlock endless possibilities with 3D object creation, including

metaverse characters and avatar models

Vinicius Machado Venâncio

BIRMINGHAM—MUMBAI
Blender 3D Asset Creation for the Metaverse
Copyright © 2023 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted
in any form or by any means, without the prior written permission of the publisher, except in the case
of brief quotations embedded in critical articles or reviews.
Every effort has been made in the preparation of this book to ensure the accuracy of the information
presented. However, the information contained in this book is sold without warranty, either express
or implied. Neither the author, nor Packt Publishing or its dealers and distributors, will be held liable
for any damages caused or alleged to have been caused directly or indirectly by this book.
Packt Publishing has endeavored to provide trademark information about all of the companies and
products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot
guarantee the accuracy of this information.

Group Product Manager: Rohit Rajkumar

Publishing Product Manager: Vaideeshwari Muralikrishnan
Senior Content Development Editor: Feza Shaikh
Technical Editor: Saurabh Kadave and Simran Udasi
Copy Editor: Safis Editing
Project Coordinator: Manthan Patel and Aishwarya Mohan
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Indexer: Tejal Drauwale Soni
Production Designer: Vijay Kamble
Marketing Coordinators: Anamika Singh, Namita Velgekar, and Nivedita Pandey

First published: July 2023

Production reference: 1220623

Published by Packt Publishing Ltd.

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B3 2PB, UK.

ISBN 978-1-80181-432-4
www.packtpub.com
To my mother, Claudia, who gave me unconditional love and support throughout my life and my
journey as an artist. I wouldn’t have made it this far without her.

– Vinicius Machado Venâncio

 Contributors

About the author

Vinicius Machado Venâncio is a 3D designer with experience in asset creation in Blender for multiple
purposes, ranging from animation to still renders to game-ready assets. As a freelancer, he’s worked
on a variety of projects for multiple companies and individuals, with various different styles, from
realistic to stylized.

I want to thank the people who supported me throughout my journey, especially my mother, Claudia.
About the reviewer
Devendra R. Ghadge is a skilled WebGL developer based in India, with a keen interest in 3D
modeling and graphics development. With significant industry experience in developing 3D models
using Blender, he possesses sound knowledge of OpenGL and OpenGL-ES. Devendra gained all of
his knowledge about 3D graphics from AstroMediComp, a renowned “Gurukul” that instills in its
students a deep respect for technology and encourages a keen interest in learning. His education at
AstroMediComp provided him with a solid foundation in 3D graphics. As a first-time book reviewer,
Devendra brings his passion for technology and experience in 3D graphics to provide a unique
perspective on the subject matter.
 Table of Contents
Preface xi

Part 1: Inorganic Asset Modeling

1
Modeling the 3D Asset 3
Gathering references 4 Creating the headband 26
What are good and bad references? 4 Refining the block out to add detail 32
A quick tour of Blender 6 Secondary details 32
Blocking out the asset’s general shape 9 Tertiary details 34

Breaking down the object into primitive shapes 9 Summary 36

Building the headphones
inside Blender 11
Creating the lower part of the headphones 11

2
Optimizing Your Asset for Better Rendering Performance 37
Deciding whether an asset has What to keep in mind while
excessive geometry 37 optimizing a model 50
Reducing excessive geometry 38 Flat areas 50
Dissolving edges manually 38 Bad geometry 52
Decimation 43 Further optimization 60

Summary 62
viii Table of Contents

3
UV Unwrapping Your 3D Asset 63
Finding the right edges Connecting part 90
on which to place seams 63 Packing the UVs 93
Unwrapping the headphones 72 Checking for practical use 98
Cushions and earcups 74
Summary 101
Headband 85

4
Texturing Your 3D Asset Using PBR and Procedural Textures 103
Setting up your workspace 103 Procedural texturing workflow 123
A physically based Summary 148
rendering workflow 105

5
Texture Painting and Using Real-Life Images as Textures 149
Setting up your texture Baking the textures 173
painting workspace 149 Baking from high poly to high poly 173
The Texture Paint workspace 151 Baking from high poly to low poly 180
Painting 155
Summary 183
Texturing with real-life images 164

Part 2: Organic Asset Modeling

6
Introduction to Blender’s Sculpting Tools 187
Blender’s default sculpting tools 187 Advantages of using a graphics
UI elements 187 tablet to sculpt 207
Blender’s sculpting brushes 194 Suggested uses for the brushes 211
Summary 219
 Table of Contents ix

7
Making the Base Mesh for a Humanoid Character 221
General body proportions Chest and abdomen 233
for humanoid characters 221 Face 235
Arms and hands 223 Blocking out the base mesh 237
Legs and feet 227
Summary 255

8
Refining the Base Meshes 257
Refining the head and face 257 The pelvic area 285
The neck 268 The legs 286
The chest 270 The hands 294
The upper back 273 The feet 296
The arms 276 Merging the different parts 300
The abdomen 281 Summary 303

9
Optimizing the Base Meshes 305
What is good topology? 305 Feet 356
Edge flow 306 Hands 362
Poles 307 UV unwrapping our base meshes 371
Setting up the retopology mesh 309 Head and neck 372
Retopologizing the base mesh 314 Torso 373
Arms 375
Head 314
Hands 376
How to decrease the mesh resolution 333
Legs 378
Neck 337
Feet 378
Torso 340
Arms 351 Summary 382
Legs 354
x Table of Contents

10
Rigging the Base Meshes 383
Types of movable joints Legs and feet 399
in the human body 383 Weight painting 404
Ball-and-socket joints 384
Limiting the movements
Ellipsoid joint 384
of the joints 414
Saddle joints 385
Hinge joints 386
Adding IK to our rig 424
Pivot joints 387 Legs 424
Plane joints 388 Arms 433

Rigging our character 389 Generating a full rig with

Spine 392
the Rigify add-on 437
Arms and hands 394 Summary 445

11
Further Development as a 3D Artist 447
Improving quickly 447 The importance of feedback
Free online tutorials 447 as an artist 448
Dedicated courses 448 Differentiating between good and
bad feedback 449

Summary 450

Index 451

Other Books You May Enjoy 460

 Preface
Blender is a free and open source 3D modeling software that has been continuously growing in recent
years, is extremely powerful, and is able to handle a lot of the tasks that most major 3D software out
there also do. This book is a general overview of the tools used in asset creation available by default
in Blender, as well as useful techniques to speed up the creation process and make the created asset
as high quality as possible for a beginner.

Who this book is for

If you are a beginner 3D asset designer and/or character modeler and want to expand your skill set
to asset creation for personal projects, games, and the metaverse, this book is for you. We’ll cover in
depth the process of creating such assets. Intermediate-level modelers could benefit from this as well.
Basic texturing and UV unwrapping knowledge can help you get the most out of this book.

What this book covers

Chapter 1, Modeling the 3D Asset, guides you through the elements of the default interface and what
they do. It then covers the basic tools and techniques used for modeling by going through the process
of modeling a pair of headphones from scratch.
Chapter 2, Optimizing Your Asset for Better Rendering Performance, covers different ways of optimizing
the asset made in the previous chapter if excessive geometry is present.
Chapter 3, UV Unwrapping Your 3D Asset, covers how to properly unwrap the optimized 3D model to
prepare it for texturing, by first looking at primitive shapes and applying similar logic to unwrap the
headphones. We will also cover how to manipulate the UV map to better occupy the 1:1 UV space.
Chapter 4, Texturing Your 3D Asset Using PBR and Procedural Textures, covers two distinct methods
of applying textures to a 3D model: procedural, by using math to generate the necessary texture maps,
and PBR, using pre-made texture maps.
Chapter 5, Texture Painting and Using Real-Life Images as Textures, goes over two more methods of
texturing an asset: texture painting, which consists of painting the textures manually and offers absolute
control over how the textures look, and using real-life images, in which we use and manipulate one
real-life image to use as a texture and to generate the necessary maps.
Chapter 6, Introduction to Blender’s Sculpting Tools, covers in depth the main tools Blender has available
by default used for sculpting, such as the different brushes and how they behave when applied and
their settings, to control that behavior.
xii Preface

Chapter 7, Making the Base Mesh for a Humanoid Character, covers the most important aspects of the
human anatomy in order to make a believable character, going in depth into the different muscles,
how they work, and how they affect the shape of their surroundings in the human body, as well as
the general body proportions and the main differences between male and female bodies, which we’ll
use to start blocking out male and female base meshes.
Chapter 8, Refining the Base Meshes, goes over how to refine the base meshes we blocked out previously,
adding detail and making heavy use of the anatomy studied in the previous chapter to add the necessary
details and to make sure we have a decent, believable result.
Chapter 9, Optimizing the Base Meshes, covers the process of optimizing the geometry of the sculpted
base meshes using a method known as retopology, where we reconstruct the body from scratch with
a much cleaner topology, using the sculpt as a base. We'll also be covering how to recover the detail
lost during the retopology process, followed by how to properly unwrap the base meshes.
Chapter 10, Rigging the Base Meshes, goes over the different types of movable joints in the human
body, explaining their movements, limitations, and respective locations in the human body, to then
add a rig to our optimized base mesh to move its different parts and limbs according to the limitations
explained. We’ll then cover how to add IK to different parts of the rig in order to pose it easily and
how to generate a full-body rig using the built-in Rigify add-on.
Chapter 11, Further Development as a 3D Artist, suggests useful sources of knowledge in order to build
up and improve the skills learned throughout this book.

To get the most out of this book

This book uses Blender 3.3 to make every asset. However, most techniques taught should work in
newer versions.

Software/hardware covered in the book Operating system requirements

Blender 3.3 Windows, macOS, or Linux

If you haven’t installed Blender yet, you can do so at blender.org.

Download the color images

We also provide a PDF file that has color images of the screenshots and diagrams used in this book.
You can download it here: https://packt.link/8fJT4.
 Preface xiii

Conventions used
There are a number of text conventions used throughout this book.
Code in text: Indicates code words in text, database table names, folder names, filenames, file
extensions, pathnames, dummy URLs, user input, and Twitter handles.
Bold: Indicates a new term, an important word, or words that you see onscreen. For instance, words
in menus or dialog boxes appear in bold. Here is an example: “Enable the Rigify add-on by checking
the box to the left of the add-on’s name.”

Tips or important notes

Appear like this.

Get in touch
Feedback from our readers is always welcome.
General feedback: If you have questions about any aspect of this book, email us at customercare@
packtpub.com and mention the book title in the subject of your message.
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If you have found a mistake in this book, we would be grateful if you would report this to us. Please
visit www.packtpub.com/support/errata and fill in the form.
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be grateful if you would provide us with the ___location address or website name. Please contact us at
[email protected] with a link to the material.
If you are interested in becoming an author: If there is a topic that you have expertise in and you
are interested in either writing or contributing to a book, please visit authors.packtpub.com.
xiv Preface

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 Preface xv

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 Part 1:
Inorganic Asset Modeling

In this part, we’ll go over the process used by most people when creating inorganic assets, also known
as poly modeling. We’ll cover each part in depth and make an asset using the techniques showcased
from scratch that will be suitable for most uses, such as still renders, animations, and games.
This part has the following chapters:

• Chapter 1, Modeling the 3D Asset

• Chapter 2, Optimizing Your Asset for Better Rendering Performance
• Chapter 3, UV Unwrapping Your 3D Asset
• Chapter 4, Texturing Your 3D Asset Using PBR and Procedural Textures
• Chapter 5, Texture Painting and Using Real-Life Images as Textures
 1
Modeling the 3D Asset
Blender is an extremely powerful tool for creating 3D models for a variety of purposes and has
increased in popularity over the last few years mainly because it is a free and open source program,
which makes it accessible to basically anyone with a computer. It has been designed so that every step
of the 3D pipeline can be carried out within the program itself. That’s why many people are starting
to create assets for the metaverse using Blender rather than paid alternatives.
In this chapter, we’ll learn how to start creating your own original assets, as well as learning how to
navigate through Blender’s interface and use its main modeling tools, using the modifier system to
speed up the process.
In this chapter, we’re going to cover the following topics:

• How to look for good image references

• How to break down an object into simple shapes
• How to create a base shape to build upon
• Deciding on the level of detail necessary
• How to gradually add detail to the base shape
4 Modeling the 3D Asset

Gathering references
Before starting any work, it is crucial that you have at least an idea of how the final product will look,
as this will guide every other step of the process. Aspects such as the asset’s style and materials are
useful to keep in mind during the whole process. That’s where image references shine, as they clearly
show us how much detail to actually add to our models and what the general shape we should aim
for is, among other aspects, which will make our asset look believable and fitting.

What are good and bad references?

When looking for image references, we come across thousands of images with different properties
such as resolution, brightness, and lighting, and in order to guide ourselves correctly and effectively,
we should be able to distinguish between what is a useful reference and what’s not.
A good reference image should clearly show the shape, color, and material of an object in order to
guide us correctly.

What to look for and avoid while looking for references

Generally, we’d want to avoid images with low resolution and bad lighting, which can flatten the
shapes and “erase” detail. Photos taken with a light source located near the camera, for example, tend
to flatten the shapes a lot, so it’s a good idea to avoid pictures taken with flash or amatewur lighting.
Pictures taken in a studio, on the other hand, tend to have ideal lighting, showcasing most of the
details of the object.

Figure 1.1 – Examples of bad and good references (images from https://www.pexels.com/)
 Gathering references 5

From the preceding figure, we can notice several differences between the references: the bad reference
doesn’t show the general shape of the object clearly, as it was taken from a bad angle, while the good
reference makes it very easy to see the silhouette as well as the sides of the headphones.
The lighting in the bad image makes it even harder to distinguish the shapes that make up the object,
and the harsher, darker shadows “blend” the sides of the headphones with their own shadow, which
doesn’t help when defining the thickness of the headband. The lighting also prevents us from seeing the
material properties, such as the surface bumpiness and roughness, clearly, especially in the cushions
around the ear, as well as the plastic that makes the outer part of the headphones. The good reference,
though, shows us the complete opposite: with clearer, brighter lighting and fewer postprocessing
effects, it’s now possible to notice most of the details on the surface, such as how shiny each part is;
the headband and cushion materials are now clearly noticeable as they appear to be made out of a
leathery material, along with some less shiny plastic parts.
Another aspect to keep an eye on is the exposure of the image as this can also make it harder to see
details, so avoid under- or over-exposed images (see Figure 1.2):

Figure 1.2 – Examples of good and bad image exposures (image from https://www.pexels.com/)

It’s worth noting that we should not work with one reference only, as this “limits” our view, so it’s very
important to find a set of reference images from a variety of angles and different versions of the same
object (unless, of course, you’re making a replica of a specific version), including of 3D models in your
desired style, along with real-life pictures. PureRef is a good, free external tool, useful to organize the
chosen reference images in a more concise way, though this is optional. Now, with a proper reference,
we should be a nice guide to refer to throughout the entire process, which starts with blocking out
the general shape of the asset.
Before we hop into making the actual headphones, though, let’s have a quick look at the viewport so
that we can familiarize ourselves with the environment we will be working in further down the road.
6 Modeling the 3D Asset

A quick tour of Blender

The first time you open Blender, you might feel overwhelmed just by looking at the interface:

Figure 1.3 – Blender’s default interface

Let’s start with the bigger windows. The biggest one is the 3D Viewport, where you add objects, edit
your models, and/or set up your scene overall.
In the upper right, we have the Outliner, which contains all objects in the scene and can help us locate
different objects more easily.
Underneath it, we see the Properties Editor, where we can tweak several attributes and parameters
of the currently selected mesh. It has several icons on its left side that illustrate what each tab inside
of this editor affects.
Now, we can look at the Workspace menu at the very top of the Viewport:

Figure 1.4 – Workspace menu

There, we have many different workspaces, each one optimized with distinct interfaces for several
different tasks, such as modeling, sculpting, and texturing.
Now, to the left of the viewport, we see some tools:
 A quick tour of Blender 7

Figure 1.5 – Viewport tools

These tools, from top to bottom, are the following:

• Select: This tool allows for box selection and has more modes that can be toggled using the
shortcut W.
• Cursor: This defines the ___location of the 3D cursor, which has a round red and white contour.
The 3D cursor defines where the objects are added to the scene.
• Move: This allows us to move the object in one or more of the three axes.
• Rotate: This allows us to rotate the model in one or more of the three axes.
• Scale: This allows us to scale the object in one or more of the three axes.
• Transform: This is an all-in-one tool that provides the functionality of the three previous
tools in one.
• Annotation: This allows us to make any type of annotation in our project.
• Measure: This measures the length and angle by clicking and dragging.
• Add Cube: This allows us to draw a cube or cuboid shape by clicking and dragging.

Note that most of these tools are easily accessible using shortcuts, and once you get used to using
shortcuts, you will rarely find yourself using these tools.
8 Modeling the 3D Asset

Now, we can move to the right side of the Viewport:

Figure 1.6 – More tools

There we have a few other tools, again described here from top to bottom:

• Options: This is a menu with a few options for the current selection mode
• Gizmo: You can use this to figure out the view’s orientation relative to the world coordinates
and the scene, as well as rotating the view around by clicking and dragging
• Zoom: This zooms the view in or out by clicking and dragging
• Move: This pans the view
• Toggle camera view: This switches between the Camera and Orbit views
• Perspective: This switches between the Perspective and Orthographic views, which will be
explained later in the chapter

While these may be tools for navigation in the viewport, there are easier ways of going about it: using
shortcuts. The most common ones used for navigation are the following:

• Middle mouse button: Orbits the view around the scene.

• Shift + middle mouse button: Pans the view.
• Scroll wheel: Zooms in (scroll up) or out (scroll down). This can also be done using Ctrl +
middle mouse button and dragging up or down.

For now, we will just mention the navigation shortcuts, but we will learn about more of them as we
build out the headphones.
 Blocking out the asset’s general shape 9

Blocking out the asset’s general shape

After we have our references laid out and organized, it’s time to start blocking out the general shape
of the object so that we have a solid base to work on and add detail to later on. It’s important to not
focus on small details at this stage, as this is just our starting point. Think of this like a drawing: we
start with a rough sketch and refine the forms and shapes gradually. This is basically the sketching part.

Breaking down the object into primitive shapes

In order for us to do our rough block out, we need to visualize the real-life object in simple shapes.
Blender has a selection of basic shapes to start with that can be accessed through the Add menu by
using the Shift + A shortcut and hovering the cursor over the Mesh option. Then, a panel should pop
up with your options (see Figures 1.7 and 1.8).

Figure 1.7 – Blender’s main primitive shape options

Figure 1.8 – All the main primitive shapes laid out

10 Modeling the 3D Asset

To start out, we need to use the available shapes that most resemble each part of our object by looking
at the references we gathered before. So, let’s separate our headphones into their individual parts so
we can block them out properly.

Figure 1.9 – Individual parts of a pair of headphones (image from: https://www.pexels.com/)

As we can see from the preceding figure, there are three main parts that make up the headphones, so
now we have to decide on the level of detail (LOD) we want those parts to have.

How much detail do we need?

The amount of detail we will put into our model heavily depends on factors such as how far away the
object is from the camera, the desired style, and how important it is in our metaverse game. That’s why
many projects (especially games) include several versions of the same model with varying amounts
of detail, the so-called LODs – a higher-detail version for when there is a close-up of the model and
a lower-detail version for when it’s far away.
Let’s say, for example, that we want a blocky and geometric look for our headphones; then, we would
use lower-resolution primitive shapes rather than the ones that Blender provides by default. The
resolution is more noticeable in curved surfaces than flat ones.

Figure 1.10 – Examples of different resolutions in a primitive shape (torus)

 Building the headphones inside Blender 11

As we can see, the more resolution we add, the more detailed the surface looks, which can provide a
more realistic look to our object.
It’s very important to note, though, that the more resolution we opt to put in the asset, the harder it
will be to render, so we need to find a balance between the resolution and the look we’re going for.
For our example, we’ll be going with a semi-realistic look, so we might need a bit more detail than the
default settings Blender provides us with. Now we’re ready to actually start modeling our headphones.

Building the headphones inside Blender

For this model, we’re going to start with the cushions and earcups, which can be simplified into one
part that resembles a cylinder pretty nicely.

Creating the lower part of the headphones

When you first open Blender, you’ll see three default objects: a cube, a sun light, and a camera. We
won’t be using them, so we’ll start by deleting all of them by pressing A to select all of them, followed
by either Delete or X, then selecting Delete in the menu that pops up.
Now we’ll proceed to add a cylinder. The default cylinder has 32 faces on its side, which is enough
resolution for us considering that it is a relatively small object, so let’s stick with that. After adding
the cylinder using the previously mentioned shortcut for adding objects (Shift + A), this is what we
see in the viewport:

Figure 1.11 – The default cylinder

Immediately, we notice that this cylinder is way too thick and oriented the wrong way. So, we will
start shaping it into our base model. First off, we need to see our object from other angles, which can
be done by using the middle mouse button to rotate the view. Holding Shift while doing so pans the
view around. Zooming in can be done by scrolling.
12 Modeling the 3D Asset

Secondly, we need to rotate the object to the side. For that, we use the R shortcut on the keyboard.
Then, we could adjust the rotation by dragging our cursor around the object, but that’s imprecise.
To rotate it in a more precise way, we can limit the rotation to either the X, Y, or Z axis by typing the
relevant letter after pressing R. To know which is the right axis, we can look for the little orientation
gizmo in the top-right corner (Figure 1.12).

Figure 1.12 – Blender’s orientation gizmo

Once you’ve constrained the rotation for the desired axis (in our case, it’s the X axis), you can type
the exact angle you want it to rotate, which is 90° in this case, and left-click to confirm your action
(right-click cancels it). Then, you should have something like this:
 Building the headphones inside Blender 13

Figure 1.13 – Cylinder rotated 90° on the X axis

Now, we need to scale it down to the desired thickness by using the S shortcut on the keyboard,
again constraining the axis so we don’t scale it all at once, and dragging the cursor toward or away
from our model to adjust the size (you can also type the scale using keyboard keys just like rotating,
but scaling works in a multiplicative way rather than additive. We’ll drag the cursor for this one as it
doesn’t require a lot of precision). In order to see the changes better, we can press the numbers 1, 3,
or 7 on the numpad (or the ~ key, then set the view if you’re on a Mac) to snap our view to the front,
right, and top views, respectively (you can press Ctrl + 1, 3, or 7 to go to the opposite view). This is
what we have now:

Figure 1.14 – Cylinder resized

It’s important to note that after you make any changes to the scale, you should apply the new scale
by pressing the Ctrl + A shortcut and selecting Scale from the menu that pops up. This will prevent
problems when we make the cushions later on.
14 Modeling the 3D Asset

Now, it’s time to introduce you to where more detailed shaping happens, as well as where you’ll spend
about 50% of your time: edit mode, which can be acessed by pressing Tab while with the desired
object selected.
That’s where we can edit the individual vertices, edges, and faces of our geometry, as well as adding
and removing them when necessary. We can toggle between these modes using the buttons in the
top-left corner or by pressing 1, 2, and 3 on a normal keyboard (Figure 1.15).

Figure 1.15 – Vertex, edge, and face selection modes

To start, we can see in the references that the cushions and the earcups are not perfect circles, but
rather have a slightly oval shape. To do that, we select all faces using the A shortcut on the keyboard
and scale the earcup on the correct axis (Z) until we are satisfied with the shape. If you’re following
along, you can scale it up or down according to your taste. It’s worth noting that you can reshape this
at any point but it will become harder to do the further along you are in the process. That’s why we
focus on the bigger shapes first and add the smaller details later.
After that, it’s time to take care of faking the separation of the earcups and cushions, as we chose to
keep them in one shape. To do that though, we need to add more geometry to our model.
For this, we’re going to add what’s called an “edge loop,” which is a ring of edges that will go around a
set of faces, dividing each one of them into two. To add an edge loop, we do the following:

1. Go into edit mode.

2. Press Ctrl + R.
3. Hover our cursor over the ring of faces we want to add our edge loop on.
4. Click with the left mouse button.
5. Drag our cursor to where we want our loop to be (where the cushions end and earcups begin)
and click again.
 Building the headphones inside Blender 15

After that, you should have something that looks similar to this:

Figure 1.16 – Edge loop added

Now it’s time to shape the earcups and the cushions, respectively. To do that, we do the following:

1. Select the round face with the shortest faces connected (if you want to tweak more than one
face at once, hold Shift while selecting to select multiple faces).
2. Scale it down to the desired size (if you want, you can readjust the ___location of that face by
pressing G and then dragging your cursor. Restricting the axis is also possible).
3. Add another loop to the left of the initial loop (that’s going to be the base of the cushion).
It’s worth remembering that Ctrl + Z undoes the last action if you are unsatisfied with a change
you just made. After that, you should have something that looks like this:

Figure 1.17 – Earcups adjusted

16 Modeling the 3D Asset

We need to pull the base of the cushions outward to shape it, which can stick out in some
headphones. For that, we’ll need to extrude it. Regular extrusion (the E shortcut) will pull
all the faces in one direction, but what we want is to pull each face in the direction that it is
pointing in, which is called the normal. To access the different types of extrusion, we need to
select the face loop (shortcut: Alt + left-click on the loop using the face selection mode), go
into the extrusion menu by pressing Alt + E, and from the menu that pops up, select Extrude
faces along normals. Now you can drag your cursor and adjust the extrusion to your liking.
Your model should look like this:

Figure 1.18 – The base of the cushions extruded

The next step will be to add the hole in the middle of the cushions where our ears go. To make that
hole, we’ll inset the front face using the I shortcut and drag the cursor, and a new ring of faces should
appear with a new round face in the middle. Adjust it to a size slightly smaller than the one of the actual
hole, as in the next step when we round the edges of the cushion, it will look bigger. After that, you
can extrude the round face inward using regular extrusion, as we want it to go in just one direction.
This is what you should have now:
 Building the headphones inside Blender 17

Figure 1.19 – Carved hole in the cushions

For the last step of this part, we’ll round the corners of the cushion in order to make it look more like
a soft surface. We’ll start by going into edge select mode using the shortcut 2 and selecting the edge
loops that we want to be rounded (the inner and outer edges of the cushion in this case):

Figure 1.20 – Edges that will be rounded selected

Now, we’ll press the Ctrl + B shortcut to add a bevel and drag the cursor to adjust the size. Initially,
your bevel will have only one face, which isn’t enough to make it look round. While adjusting the size
of your bevel, you can scroll up or down with the mouse wheel to increase or decrease the resolution
of the bevel to your liking, and if you want it to be round all the way, you can press C to clamp the
bevel while adjusting it. This will prevent the vertices from overlapping with each other by limiting
the bevel amount we can apply, which causes several issues. You should end up with this:
18 Modeling the 3D Asset

Figure 1.21 – Cushions rounded

At this point, it’s a good idea to save your project using Ctrl + S, to guarantee that you don’t lose your
progress and your sanity if Blender crashes in the middle of something. Saving regularly is good practice.
We’re finished with blocking out the earcups and cushions. Now it’s time to move on to the bottom
part of the headband (see Figure 1.22).

Figure 1.22 – Bottom part of the headband (image from: https://www.pexels.com/)

To start off, we won’t add another primitive shape, as we will use the earcup’s contour to shape that
part. So, while still in edit mode, start by selecting about half of the upper ring of faces that go down
the earcup’s side and duplicating it using the Shift + D shortcut. Then, we need to drag those faces
along their normals to around the thickness we want that bottom part to be, and after that, separate
the earcups from this headband part. To do that, we do the following:

1. Select all the separate faces.

2. Press the Alt + S shortcut.
 Building the headphones inside Blender 19

3. Drag your cursor up or down to adjust the thickness.

4. Left-click to confirm.
5. Press the P shortcut to separate the faces and select By Selection from the menu that pops up.

Now you should have two separate objects in your scene when you go out of edit mode and back to
object mode in your viewport (1), as well as in your outliner (2), as seen in the following screenshot:

Figure 1.23 – Earcups and headband separated

As you can see, this part of the headband is infinitely thin and leaves a gap between the parts, so we
need to add thickness to it. We could extrude the faces along the normals again, but instead let’s not;
we’re going to use Modifiers. Modifiers are a way to preview changes in our model but alter them
later on if we feel like it. The modifiers tab can be found by selecting the blue wrench icon to the right
of the viewport:

Figure 1.24 – Solidify modifier settings

20 Modeling the 3D Asset

In that tab, when we select Add Modifier, we have access to a bunch of modifiers that we can use.
Most of the names are self-explanatory and have an icon to their side illustrating what each one does.
For now, we’ll go only with the Solidify modifier, which can be found under the Generate column,
which only has modifiers that alter the geometry. Upon selecting Solidify, you will be able to see the
modifier settings appear in the modifiers tab.

Figure 1.25 – Solidify modifier settings

The main settings are Thickness, Even Thickness, Fill, and Only Rim, but we’re only going to use
Thickness and Even Thickness for our headphones. Click and drag the Thickness slider left or right
until it touches the earcup’s sides and check the Even Thickness option.
 Building the headphones inside Blender 21

Figure 1.26 – Before and after solidifying

The next step is to extrude the part that connects the bottom part to the top part of the headband, and
thanks to our solidify modifier, the edges we extrude and/or tweak are going to maintain their thickness.
Start by selecting the edges you want to turn into the connecting part (2-6 edges ideally, if you’re
following along with similar scale). Remember to keep the selection symmetric and extrude the
edges up to the desired height. You can also tweak the ___location of those faces to your liking, avoiding
overlaps of course. It should look something like this:
22 Modeling the 3D Asset

Figure 1.27 – Base of the extrusion

That’s the base of our extrusion, but most of the references show a slight curve in the extrusion. To
do that, we’re going to flatten the top area by selecting the edges and scaling them in the Z axis by 0
(this multiplies their relative scale by 0, effectively aligning them perfectly), then adding a single edge
loop with Ctrl + R and then right-clicking to place it exactly in the center. Then, pull it back along
the Y axis until you’re satisfied with the curve. After that, bevel that edge loop to smooth the curve.

Figure 1.28 – Curve added to the connecting part

For extra control over the thickness, you can apply the solidify modifier by hovering your cursor over
it in the modifiers tab and pressing Ctrl + A. This will apply the geometry generated by the modifier
and let you manually control the thickness of each face. If you want to keep your changes perfectly
symmetric, you can do the following:

1. In edit mode, select the half you want to symmetrize your changes to.
 Building the headphones inside Blender 23

2. Delete it using the Delete or X shortcut, then select either Vertices, Edges, or Faces from the
delete menu (sometines not all deleting modes will give out symmetric results, depending on
the model, so choose what works).
3. Add a Mirror modifier set to the X axis (in this case) and make sure merge and clipping are
enabled. This will make sure the object is just one piece and has no vertices in the exact same
position (see Figure 1.29).

Figure 1.29 – Mirror modifier

Exploring the Variety of Random
Documents with Different Content
have already quoted. “It is a common remark,” says this organ of
orthodox Lutheranism, “that the blows struck at the Church of Rome
will tell with redoubled force against the evangelical church. But
what is meant to injure, only helps the Roman Church. There she
stands, more compact than ever, and the world is amazed at
beholding her strength. Once the word of the Monk of Wittenberg
made her tremble, but to-day the blows of power make her stronger.
Let us beware of illusion; it is certain that in the Protestant North of
Germany there has grown up a [pg 297] public opinion on the
Church of Rome which provokes the respect even of the liberals. We
have enough to do, they say, to fight the socialists; it is time to leave
the Catholic bishops in peace.”

To Be Concluded Next Month.

The Veil Withdrawn.

Translated, By Permission, From The French Of Mme. Craven, Author

Of “A Sister's Story,” “Fleurange,” Etc.

XXVI.

Among the amusements of the Carnival, there was one in which I

was not in the least tempted to take part—that of the bal masqué,
or, as it was called, the Festino di San Carlo. I ought to remark here,
however, that it was with respect to this amusement, above all,
Naples differed from Paris. There was no resemblance between the
bals masqués at San Carlo and those given at the opera in Paris. No
virtuous or even prudent woman, I imagine, would think of
venturing to attend the latter; whereas at San Carlo it was not only
common to find married women of rank, but even young ladies
under their mothers' protection as at any other ball. They wore their
masks awhile, amusing themselves, if they had the turn, with
mystifying their friends; then, at a certain hour, several rooms having
been formed by uniting a number of boxes, and illuminated, they all
laid aside their masks, and the various coteries, in groups of ten,
fifteen, or twenty persons, took supper together. I certainly do not
pretend to deny (my story itself would forbid it) that the opportunity
of profiting by this disguise, in order to pass the evening in a less
inoffensive manner, was not made use of by more than one of the
company. It could not be otherwise, perhaps, in a place where this
kind of folly reigns, even in a mitigated form. I only wish to describe
its general character at that time.
I had not, however, the least inclination to attend. The very thought
of wearing a mask was repugnant to me, and to see anybody else
with one on caused me a kind of fear. Besides, I never could
understand what pleasure was to be found in a mystery of this kind,
which always seemed childish and trivial, if not culpable and
dangerous. I had neither the faculty of disguising my voice nor of
making use of the jargon that constitutes the spirit of a bal masqué.
I therefore flatly refused to join a party of twenty persons who were
to attend the Festino on Jeudi-Gras, and, after participating for
awhile in the amusements of the ball-room, were to take supper
together.

Stella had neither my repugnance nor my incapacity. She knew how

to play the part of another with grace and skill, and had been urged,
as well as I, to join this merry party; but she denied herself the
pleasure in order to attend a family supper with her aged relatives
and their friends, and we decided with [pg 298] mutual accord that
our amusement for the day should be confined to that which
awaited us on my aunt's balcony on the Toledo.

The hour came at last, and found us under arms—that is to say, our
faces protected by a kind of visor of wire netting, and all of us,
except my aunt, dressed in such a way as not to fear the clouds of
flour we were to face, as well as the missiles which, under the name
of confetti, were fearful to encounter, and had nothing sweet about
them but the name. Some carried their precaution so far as to
prepare a costume de bataille expressly for the occasion. Of this
number were Teresina and Mariuccia, who, at Lando's suggestion,
had provided themselves with dresses of white cotton ornamented
with bows of rose-colored ribbon, which enabled them to encounter
the showers of missiles, and were so becoming that they looked like
two of Watteau's shepherdesses. But my aunt disdained this mixture
of elegance and economy. She did not give a thought to what was to
take place in the street; her whole mind was absorbed in what was
to occur in her drawing-room. Regardless of danger, she put on a
dress of yellow silk of the brightest shade, and set off her chignon
and false braids with a cap adorned with poppies and corn-flowers,
above which was fastened a bow of red ribbon, which streamed like
a flag from the summit of a tower. This display was intended to do
honor to the visitors who merely came for their own convenience.
For the most part, they only entered her house with an eye to her
balcony: but in order to obtain access to it, they were obliged to
pass through the drawing-room, where Donna Clelia herself was
stationed to arrest the passers-by and exact a tribute of politeness
no one could refuse, and which, brought to such close terms, every
one liberally paid. Never had she, therefore, in a single day reaped a
like harvest of new and distinguished acquaintances; never had she
received at once so great a number of desirable invitations, for could
they do otherwise than requite hospitality with hospitality? My aunt
thus had at the beginning of the day one hour of happiness without
alloy!

At length the battle began in earnest. To those who have taken part
in such combats it is useless to describe the enthusiasm and
madness which every one ends by manifesting; to those who have
not had the experience it is equally useless to try to give an idea of
it. It must be acknowledged, however, that the first volley of confetti
is by no means very amusing to the recipient, and he is tempted to
withdraw ill-humoredly from what seems at first mere rough, childish
sport. Then he endeavors to defend himself by retaliating. By
degrees the ardor of combat is awakened; he yields to it, he grows
furious, and for hours sometimes he persists in returning volley for
volley, unmindful of fatigue, and regardless of the blows he receives.
One thing is hurled after another—hard confetti, fragile eggs, flour,
sugar-plums, flowers, and immense bouquets.... If the ammunition
fails, he throws out of the window whatever comes to hand. He
would rather throw himself out than give up the contest!

This sport had been going on for an hour, and we were still in full
glee, when the Venetian gondola made its appearance in the street.
It was welcomed with shouts and cries of applause from the crowd.
[pg 299] In fact, nothing so splendid of this kind had ever been seen
before. It came slowly along, stopping under every balcony. When it
arrived before ours, it remained a long time, and a furious combat
took place. Notwithstanding the visor that concealed Lorenzo's face,
I easily recognized him by his slender, stately form. Lando and Mario
looked very well also, but Lorenzo surpassed them all by the grace
and ease with which he wore his costume, as well as the skill with
which he threw his bouquets to the precise spot he aimed at. He
soon recognized me likewise, and threw me a bunch of roses!...

Alas! those withered roses. I preserved them a long time in memory

of a day that was to end in so strange a manner!...

After the gondola had gone entirely out of sight, I concluded to

leave the balcony, in order to take some rest while awaiting the
return of the brilliant masquerade. This would not be till nightfall,
when the gondola was to be illuminated throughout. I had therefore
nearly an hour before me in which to repair my strength. But when I
entered the drawing-room, I was frightened at the sight which met
my eyes. My poor aunt's brilliant toilet had undergone the most
disastrous consequences possible to imagine, and I found her so
covered with flour and blood that I scarcely recognized her!

In this kind of war, as in all others, nothing is more dangerous than

to attract the attention of the enemy. A hat, a ribbon, any dress
whatever the least remarkable in its color, instantly becomes the
object of universal aim. It seems Donna Clelia, after welcoming her
company in the drawing-room, was tempted to go and see in her
turn what was taking place on the battle-field; but no sooner had
she stepped her foot on the balcony, no sooner were her poppies
visible, and her red ribbons began to wave in the air, than from
every balcony, every window, in the neighborhood, there fell on her
head such a hail-storm of missiles of all kinds that, in a second, not
only had her flowers, ribbons, and chignon disappeared under a
thick layer of flour, but, having neglected to provide herself with a
visor, she had been struck in the very middle of the face by some of
the confetti I have spoken of, which are merely hard balls of plaster
in the centre. No one perceived this in the ardor of the combat, no
one left the mélée to go to her assistance, and she was still in the
arm-chair where she had thrown herself, stunned by the violence of
the attack!...

I sprang towards her, and hastened to bathe her face with cold
water. I then saw it was only her nose (a somewhat prominent
feature in her face) that had suffered a slight contusion, though
sufficient to inundate her laces and yellow dress with blood, so that
the damage they sustained, as well as her head-dress, was
irreparable!...

But in the midst of all this my aunt remained cool and courageous.
Like a general wounded on the day of victory, she smiled at the
result of her rashness, and, while I was ministering to her wants,
she exclaimed:

“It is nothing; no matter! Thanks, Ginevrina mia! Che bel

divertimento! I never passed such a day in my life!... Do you know,
the Duchessa di L—— has invited me to play la pignata81 at her
house a week from Sunday. And then the gentleman [pg 300] with
H.R.H., the Count of Syracuse, has promised to get me an invitation
to one of the amateur comedies. And the gondola—what do you say
to that? Didn't your husband look handsome enough for you?... How
simpatico that Lorenzo is!... Ah! figlia mia, the Madonna has done
well for you!... I hope she will think of us some day!...”

My aunt rambled on in this way while I was trying to repair her

disordered attire, after dressing her wounds. This took some time;
but I still hesitated about leaving her, though she begged me to
return to the balcony and not trouble myself any more about her. I
obeyed her at last; but this interruption had put an end to my
enthusiastic gayety, and, when I returned to my place, I no longer
felt any disposition to resume the sport I found so amusing only a
short time before. Besides, it was growing dusk and the combat was
slackening, though the noise and confusion in the street increased
as the time approached for the return of the gondola. While I was
thus standing motionless in the obscurity of one corner of the
balcony where we were assembled, I suddenly heard some words
from the adjoining balcony of the next house that attracted my
attention:

“Valenzano must be fabulously rich, but he is going to ruin at full

speed, the dear duke.”

“In the first place, he is really very wealthy,” was the reply; “and
when he gains his lawsuit in Sicily, he will be the richest man in this
part of Italy. I do not consider his entertaining company, however
distinguished it may be, or giving his pretty wife a new set of
ornaments now and then, or throwing away a few hundred dollars
as he has done to-day, as an extravagance that will ruin a man of his
means.”

“No, of course not, if that were all.”

“What else is there?... He used to play high, but they say he never
touches a card now.”

The other speaker burst into a loud laugh, and, after a moment's
silence, resumed in a lower tone:

“He no longer plays in company, but I assure you Qui a bu boira and
Qui a joué jouera. I should be satisfied with an income equal to
what he spends in one evening at lansquenet or baccara since he
stopped playing whist and écarté in the drawing-rooms to which he
accompanies the duchess.”

Their voices grew still lower, and the few words I heard were so
indistinct that I only caught the following:

“But as there is no doubt as to the result of the lawsuit in Sicily,

there is no danger of a catastrophe.”
At that moment the uproar in the street became deafening. Shouts
and wild applause announced the approach of the gondola, and
redoubled in proportion to its nearness. It really presented a fairy-
like appearance. It was lit up with a thousand lamps of all colors,
and from time to time brilliant rockets were sent up, casting a
momentary gleam over the crowd, and then vanishing, leaving
everything in obscurity except the dazzling gondola, which
proceeded slowly along without stopping this time beneath the
balconies. No confetti or flowers were thrown; the combat was over.
It was now merely a magnificent picturesque spectacle. I saw
Lorenzo again, and more distinctly than before, for he had taken off
his visor; but he could not see me [pg 301] in the obscurity of our
balcony. He was standing in a group on the deck of the gondola as it
went by. They were all dressed in Venetian costumes, which
produced an extremely picturesque effect. It was like a living
representation of one of Paul Veronese's paintings. I could not take
my eyes off so brilliant and extraordinary a spectacle, and the
gondola had gone some distance when I suddenly saw Lorenzo (it
was really he; I should have known him, even if his face had not at
that moment been turned towards the bright light) rapidly ascend
the light staging at one end of the gondola, holding in his hand a
small bunch of jasmine tied with a white ribbon, which, when he
arrived at the top, he threw towards a window in which gleamed a
little light. ... It reached its destination. The window immediately
closed, the light disappeared, and Lorenzo descended and was lost
in the crowd that thronged the gondola. All this took place so quickly
that I could hardly account for the attention with which I watched
this little evolution and the degree of vexation it caused me.
Lorenzo, in the course of the day, had thrown more than a hundred
bouquets of the same kind. Why was I more curious to know the
destination of this one than I had been of the rest? But fatigue and
the deafening noise rendered me incapable of reflecting any length
of time on what I had just witnessed and what I had heard on the
balcony. There was almost immediately a general confusion, for the
return of the gondola was the signal for dispersing. I remained till
the last to ascertain the condition of my aunt after her accident, and
did not leave her till she had promised to go to bed and let the
baroness, who willingly accepted the charge, accompany her
daughters to the Festino at midnight.

Having returned home, I likewise returned to my room, where I

threw myself on a sofa, exhausted with fatigue. Lorenzo returned at
a later hour. He came up to my room, spoke affectionately, advised
me to take some repose, and inquired if I had absolutely decided not
to go to San Carlo. I replied that, even if I had intended going, I
should be obliged to give it up now. He did not insist, and my eyes
were already beginning to close when he embraced me, as he was
going away, and said: “Till to-morrow, Ginevra; for the Festino will
not be over till daylight, you know.”

XXVII.

I slept as the young do when suffering from unusual fatigue—that is

to say, with a sleep so profound that, when I awoke, I had no idea
of the lateness of the hour or where I was, and I felt as completely
rested as if I had slept the entire night. The sound of carriage-
wheels on the gravel of the avenue facing my room had roused me
from my slumbers, and I now heard steps and the sound of voices in
a subdued tone in the chamber adjoining mine. My door soon
opened, and Ottavia entered, moving cautiously, as if she supposed
me asleep. But as soon as I spoke, I heard a silvery laugh behind
her, and, to my great surprise, Stella made her appearance. She had
on a black domino with the hood thrown back, and in her hand she
held two masks and another domino like her own.

“You see I was right, Ottavia,” she [pg 302] exclaimed. “I was sure
we should find her awake, and, what is still better, she is dressed!
That is fortunate! Now, Ginevra, you must absolutely consent to
indulge in the pleasure of spending an hour with me at San Carlo—
only an hour! Here, look at the clock; it is half-past twelve. I promise
to bring you back before two to continue the fine nap I have
disturbed.”

I rubbed my eyes and looked at her, without comprehending a thing

she proposed.

“Come, come, Ginevra!” she continued, “wake up, I tell you, and
listen to what I say. In the first place, you must know we have had
no supper or company at our house to-night. My uncle had an attack
of the gout and went to bed at nine o'clock, and I played cards with
my aunt till midnight. But just as we were both going to our rooms,
she all at once remembered—perhaps touched by my good-humor—
how much she used to enjoy going to the Festini, and told me, of
her own accord, it was not too late to go, if I knew of any friend to
accompany me. It occurred to me at once, Ginevra, it would be very
amusing for you to go and quiz il Signor Duca a little. He is
absolutely sure you are in bed fast asleep. You can tell him a
thousand things nobody knows but yourselves, which will set him
wild with amazement and curiosity. You can acknowledge everything
to-morrow, and he will be the first to declare it an excellent joke. As
for me, I am not sorry to have an opportunity of telling your august
brother a few truths in return for certain remarks about my
exuberant gayety and levity not quite to my liking. . . . Come, come,
Ginevra, we must not lose any time. Consent, and I will tell you the
rest on the way.”

It is useless to enumerate the additional arguments she used. The

result was, she not only triumphed over my repugnance, but she
succeeded in exciting a lively desire to meet Lorenzo in disguise. It
seemed to me I could say many things I should not dare breathe a
word of to his face, and I could thus relieve my mind of the two or
three incidents that had troubled it within twenty-four hours.

Stella saw I was ready to yield.

“Quick! quick! Ottavia, help me to put on her domino, and above all,
put back her hair so it cannot be seen. The least curl peeping out of
her hood would be sufficient to betray her. Now, let us see; as we
shall have to separate on entering the hall, we must wear something
not too conspicuous which will enable us to find each other in the
crowd of black dominos. Let me hunt for something.”

She looked around, and soon discovered a large basket, in which

remained a number of small bouquets tied with ribbons of all colors,
prepared for the contests that morning.

“The very thing,” said she. And while Ottavia was executing her
orders and concealing my hair, Stella selected two small bunches of
flowers, one tied with red, and the other with white, ribbon.

“Nothing could be better,” said she. “The flowers are alike; the
ribbons alone different. Look! see where I have put my badge. Here
is yours. Put it in the same place, on the left side near the shoulder.”

But when I saw that the little bouquet she gave me was of jasmine
tied with a white ribbon, the emotion I felt was extreme. I did not
manifest it, however, for I knew if I told Stella the reason, she would
burst into laughter, and ask if I was [pg 303] going to worry myself
about all the bouquets my husband had thrown by the dozen that
day upon all the balconies on the Toledo, and if I intended to bring
him to an account for them. I therefore made no comment on this
singular coincidence; but while I was fastening the bouquet on, as
Stella had directed, I suddenly recollected, I know not why, it was by
giving Lorenzo a sprig of jasmine I pledged myself to be his for life!

Having completed my preparations, with the exception of my mask,

which I carried in my hand to put on at the last moment, I drew up
my hood and followed Stella, escorted to the foot of the staircase by
my good old Ottavia, who, though accustomed to the follies of the
Carnival, shook her head as she saw me depart, and looked at me
with a more anxious expression than usual. Was she thinking of the
evening when she saw me set out for my first ball—of fearful
memory? Did she recall my mother's anxiety? And did she remember
to beg her to watch over her child and pray for her, as she did then?
...

As we approached San Carlo, I was again seized with fear, and

regretted having yielded to Stella's entreaties.

“What will become of us alone in the crowd with no one to protect

us?” said I.

“Our masks are a sufficient protection, especially to-night. There will

be so large a number of ladies of rank at the Festino that no one will
venture to say a word to us that surpasses the bounds of pleasantry.
There would be too much danger of addressing some one who
would resent it. As to our masks, you need not be anxious. The rules
of the bals masqués absolutely forbid any one's touching them, and
these rules are respected even by those who do not respect any
other. But, apropos of masks, it is time to put yours on.”

I still hesitated. But at last, as I was on the point of descending from

the carriage, I decided to fasten my mask on, and I tremblingly
followed Stella, or rather, she took my arm and drew me along.

My first feeling, on finding myself in such a crowd, was one of

inexpressible terror. I was seized with an invincible embarrassment
and a sensation of suffocation so painful that it was with all the
difficulty in the world I kept myself from tearing off the mask that
seemed to hinder me from breathing. But Stella laughingly
encouraged me in a whisper, and by degrees I became accustomed
to the deafening sound of the music, the exclamations and resonant
voices on every side, as well as the sight of the dominos and masks
of all colors in circulation around us. She led me on some distance,
cautioning me in a low tone to make no reply, and making none
herself, to the observations here and there addressed the two “fair
masks” who were gliding through the crowd. At length we came to a
pillar, against which we leaned, and she whispered:

“Let this place be our rendezvous. You will certainly see Lorenzo
pass by in a few moments. As for me, I do not see your brother
anywhere, but yonder is Landolfo. I will amuse myself by talking
nonsense with him. Do not be afraid, and, above all, do not lose
your badge, or I shall be unable to find you. I will be careful of mine
also. If I arrive here first, I will wait for you. You must do the same.”

[pg 304]
She disappeared as she uttered these words, and I stood still for
some minutes, looking around with uneasiness and terror caused by
the impossibility of persuading myself I was not seen and recognized
by everybody. But after three or four gentlemen of my acquaintance
passed by with a mere glance of indifference, I began to take
courage, and finally became sufficiently cool to consider what I
should do and the means of attaining my object.

I began by looking around on all sides, but for some time it was in
vain. I could not see Lorenzo anywhere, and had decided to leave
my post in order to search for him in some other part of the hall,
when all at once I saw him some distance off, coming in my
direction. He was walking slowly along, looking around with a certain
attention, as if he was also in search of some one. We were
separated by the crowd, and it was not easy to reach him. I
advanced a few steps, however, and at that instant, but only for an
instant, there was an opening in the crowd which enabled him, in his
turn, to see me. I saw a flash of joy on his face. He recognized me,
it was evident; by what means I did not ask. I no longer
remembered my intention of mystifying him. I sprang towards him,
and he towards me. I passed my arm through his, still too much
excited by my previous fears and my joy at finding him to utter a
word....
A moment passed—a single moment, brief and terrible,... for he
spoke—yes, at once, and with vehemence, with passion!... But ... it
was not to me!... No, it was to her he expected to meet. I heard his
lips murmur the detested name that had not met my ear since I left
Paris!...

I was so astounded that I gave him time to say what I ought not to
have heard, what I did not wish to hear!... Then ... I know not what
impulse I yielded to, for I lost the power of reflection—I abruptly
withdrew my arm from his, and fell back with so quick and violent a
movement that the crowd opened a moment to make way for me,
and then closed, completely separating me from him.... I tore off the
flowers and ribbon I wore, and threw them on the ground. I could
not now be distinguished from the other black dominos around me.
But I was no longer afraid. I cared for nothing now but to get away
—to fly as fast as possible from so horrible a place. I hurried along in
such a wild, rapid way that every one looked at me with surprise,
and stood aside for me to pass. I thus succeeded in leaving the hall
and reaching the passage, where I was obliged to stop to take
breath. The passers-by addressed me, but I heard nothing but the
words that still resounded in my ears. I was conscious of nothing but
a fearful anguish and the rapid beating of my heart.

While standing there, all at once ... O merciful heavens!... I saw a

lady pass only a few steps off.... She was of my height, and, like me,
wore a black domino with a sprig of jasmine tied with a white
ribbon, similar to the one I had just torn off, and doubtless the same
my eyes had followed a few hours before! I recognized her at once,
and imagined I saw through her mask the sinister gleam of two
large blue eyes! She traversed the passage and entered the hall,
where she disappeared. I trembled fearfully from head to foot, my
sight grew dim, my strength began to fail me. I felt as if I should die
on the spot [pg 305] if I did not take off the mask that was
suffocating me, and yet I was still conscious I ought to keep it on at
all hazards. I threw around a glance of despair, hoping to see Stella,
and forgetting she would not be able to recognize me, even if she
thought of looking for me so far from the spot where she left me.
What torture! Great God!... My strength was gone, my voice failed
me, I felt my knees give way, when, O unlooked-for happiness! I
saw Mario pass by. The stifled cry I uttered died away on my lips
before it could reach his ear, but he saw the effort I made, he felt
my hand on his arm, and stopped. He began to address me in the
customary way on such occasions, but I made no reply. I had
recovered strength enough, however, to draw him towards the door,
and he unresistingly followed my lead; but, as we were going out,
he stopped me with an air of surprise, and said:

“I am ready to follow you wherever you wish, fair mask, but do you
know yourself where you wish to go?”

I was only able to incline my head as a sign of affirmation, and he

suffered me to lead him into the street. As soon as we were out of
doors, I tore off my mask, and found strength enough to say:

“It is I, Mario. Help me to get away from this detestable place!”

“Ginevra!” exclaimed he, drawing me along several steps to look at

my face by the light of the torches not far off. He seemed frightened
at my looks. My face was convulsed and lividly pale.

“Good heavens, sister!” said he gravely, “what has happened? How

is it you are alone in this place at such an hour? Where is Lorenzo?
Shall I go for him?”

“No, no! Oh! no,” I exclaimed with anguish. “For pity's sake, Mario,
be silent. Help me to get away, I say. That is all I ask. Do this, and
ask me no questions.”

His face darkened He silently took hold of my arm, and led me to the
place where he had left his carriage. I entered it, and was on the
point of going away without another word when I bethought myself
of Stella. I hesitated, however, to expose her to his sarcastic
comments, and perhaps to the suspicions I saw were already excited
in my brother's distrustful mind, and said in a supplicating tone:

“One favor more, Mario, which I am sure you will no more refuse
your sister than any other lady. I did not come here alone.”

At these words his face assumed an expression which I answered

with a smile of disdain.

“Do you suppose, Mario, if I did not come here with Lorenzo, I
would accept the escort of any other gentleman?” I stopped a
moment, at once irritated and impatient, but finally continued:

“The fact is, Mario, if you must know it, it was he, it was Lorenzo
himself, I came to see. I wished to play a joke on him and mystify
him a little, by way of amusing myself.”

I think my smile must have been frightful as I said this, for my

brother looked anxiously at me, though he seemed satisfied with my
explanation.

“But I have been punished,” I continued, “terribly punished.... I

failed in my object,... and thought I should die in the crowd.”

I could say no more. The tears I could not repress choked me. Mario
at once softened.

“I understand, sister—the noise, heat, and so forth were

overpowering. Those who go to a bal masqué [pg 306] for the first
time often experience this, but another time it will not happen.”

“God preserve me from ever going to another!” said I in a low tone.

“But I was about to say, Mario, that the person, the lady, who came
with me is probably looking for me by this time. Search for her. Her
domino is like mine, and you will know her by a sprig of jasmine tied
with a red ribbon.”
“I saw such a domino not long ago on Lando's arm.”

“It was she. Find her, and tell her not to be anxious; that I was ill,
and could not wait for her. That is all. Thanks, Mario. One word
more, however. As I did not succeed with regard to Lorenzo, I do not
wish him to know anything about it.”

He made a sign that he understood me, and closed the door of the
carriage, which soon took me home. Ottavia, who alone sat up for
me, was alarmed at seeing me return in such a condition. I repeated
the account I had given Mario, and had no difficulty in convincing
her I was ill. The change in my face was sufficient to prove it; but
what was this paleness, great God! in comparison with the change
that had come over my life within the hour that had scarcely
elapsed?

XXVIII.

This time the thunderbolt had really fallen on my head! Many times
had I heard it rumbling afar off, and once I thought myself fatally
injured; but after a few stormy days, calmness was restored, the
blue sky became visible, and the sun once more diffused the light
and warmth of renewed confidence and happiness. The desire of
being happy seconded my effort to become so. And, as I have
remarked, the liveliness, buoyancy, and love of pleasure natural to
the young, as well as the beauty of Naples and the influence of its
climate, all tended to surround me with an atmosphere at once
enervating and intoxicating. But now, in an instant, without any
warning, all my hopes were crushed, annihilated, for ever at an end!

“Should Lorenzo become treacherous, unfaithful, and untrue to his

word, could I continue to love him? What would become of me in
such a case?” Such were the questions I once asked myself, and
they were the sincere cry of my heart.

Now all this was realized. A person more treacherous, more

deceitful, more untrue than he it seemed impossible to find.
Everything now became clear. The words I heard, so plainly
interpreted by the instinct they awakened and that had already
warned me so strangely, enabled me to comprehend everything.
Whether there was any good reason or not for his frequent absence,
it was evident he had always met her. It was therefore from these
interviews he had derived the cheerfulness and good-humor that
apparently made him enjoy so much the comfort and splendor he
afterwards came to participate in with me. Once—who can tell for
what reason?—he had delayed going. It was then, probably, she
came herself to meet him, not foreseeing, or he either, it would be
before my very eyes!...

Even at the present time it would perhaps agitate me and disturb

[pg 307] the tranquillity of my soul, should I dwell too long on the
thoughts which then overwhelmed me, and from which I derived the
conviction that I no longer loved Lorenzo. But I suffered from the
deadly chill his treachery had struck to my heart. I would rather
have experienced the torment of jealousy than the chill of
indifference. To suffer from that would still have been life. To suffer
as I did was like being paralyzed, petrified, dead.

Women more generous, more courageous, and more devoted than I,

had, I was aware, won back such inconstant hearts, and found
happiness once more in the sweetest of victories; but their example
occurred to me without producing any impression. I was not in a
condition to be influenced by it. My aimless life had resulted in the
almost complete prostration of my strength of volition. In this
condition I could neither suffer with courage, nor act with wisdom,
nor resist temptation with any energy of will....
O my God! it is with my face prostrate in the dust I desire to write
the pages that are to follow. It is not without hesitation I continue
my account. But the remembrance of thy mercy prevails over
everything, and effaces the very recollection of the faults and follies
that serve to make it manifest! Like our divine poet wandering in the
mazes of that gloomy forest which is the image of life, I, in my turn,
attempt

“To discourse of what there good befell;

All else will I relate discovered there.”82

Mario, Stella, and Ottavia were the sole confidants of my secret, and
they kept it faithfully. Lorenzo had the less reason for suspecting I
had been to the ball when, returning home at six o'clock in the
morning, he learned I had had a violent attack of fever in the night,
and was not able to rise. There was no deception in this. It was not
a mere pretext for keeping my chamber, but the too natural
consequence of the terrible excitement of the night I had passed.

Lorenzo came several times to know how I was, and manifested

more apparent affection than usual; and yet once or twice, though
perhaps my imagination deceived me, I thought I saw something
like embarrassment or uneasiness in his face. I was, however, too ill
all the morning to observe him closely or make any reply to what he
said.

Towards evening I felt better, and, though still weak, I got up.
Lorenzo came to see if anything serious was likely to result from my
indisposition, and, being reassured on this point, he went out as
usual, leaving me alone with Stella, who had spent part of the day at
my bedside, though I had not been able to talk with her any more
than with him. Her face was as grave that day as it was usually
smiling. Stella's cheerfulness resulted from her complete lack of
egotism. She regarded the happiness of others as a treasure from
which she took all she needed for herself; and was happy, therefore,
through sympathy. It was, so to speak, a reflected happiness.
Admirable disposition! Incapable of exacting anything in view of her
own lot, or of envying that of others, she was a delightful friend in
times of prosperity, and, at the same time, a devoted adherent in
misfortune, and the sweet, compassionate confidant [pg 308] of
others' sorrows. My disappearance the evening before, the condition
in which she found me in the morning, the incoherent words I
uttered, prepared her for something serious, and she knew
beforehand I, of all people in the world, would not hesitate to tell
her the truth. In fact, as soon as we were left alone in a small
sitting-room next my chamber, I gave her for the first time a full
account of all that had taken place at Paris, as well as the night
before. She listened without interrupting me, and, after I ended,
remained silent for some time.

“This is indeed a good lesson for me,” said she at length. “I am

cured for life, I hope, of a folly like that I committed last night.”

“What folly do you allude to?”

“Why, that of coming here and persuading you to go to a place

where you learned what you might for ever have remained ignorant
of.”

“And continue to be taken in, deceived, and blinded, to live in an

atmosphere of deception, hypocrisy, and lies, to love what no longer
merits affection? No, Stella, no; do not regret that, thanks to you, it
is no longer the case. Were I to suffer even a thousand times more,
were I to die of anguish, as I thought I should on the spot when I
saw that woman pass by, I should be glad the veil had been torn
from my eyes. I can no longer be happy, it is true. My happiness is
ruined beyond repair, but I love truth better than happiness.”

“And do you think,” said Stella after a fresh pause, “that you can
never forgive Lorenzo?”
“He must, at least, desire it, as you will acknowledge, and this is
precisely what will never happen.”

“Why not?”

“Because I know Lorenzo. If I utter a reproach, it is he who thinks

he has something to forgive. He really obeys no law but the impulse
that happens to predominate. It is not in his nature, doubtless, to
show me openly any ill treatment, but he would break my heart
without any scruple in order to gratify his inclinations. I have no
doubt he thinks he has acted with great delicacy, because he has
taken pains to conceal the base course he has pursued; and when
he finds out I have discovered it, it is he who will think he has a
right to be angry. That will be the result. What room is there for
forgiveness in such a tissue of falseness?”

“What can I say to you? It will be no consolation to hear there are

many women who have husbands like him. It is sad to feel there is
nothing in the world so rare as happiness. Nevertheless, it is true,
and, for my part, it has often consoled me for having had so little in
my life. And had I been happy in the beginning, who could tell what
the future had in reserve for me?”

“And you have never thought of marrying again? You can content
yourself with a life devoid of happiness, as well as of suffering?”

She smiled.

“My life is not so exempt from suffering as you may suppose. Neither
is it devoid of happiness while I have my Angiolina. As for marrying
again, I have never happened to meet a person who inspired me
with the least desire of that kind, and I imagine I never shall.”

“It is certain, however, if you wish to marry, you would only have the
trouble of choosing.”
“Perhaps among men not one of whom pleases me. Who knows how
it would be if I took it into my head to fancy some one? But let us
leave my affairs and return to you. Tell me, are you sure Lorenzo has
[pg 309] not discovered you were at the ball?”

“Yes, I am certain he has not. If he had any suspicion, he would not

conceal it from me. Besides, he found me too ill at his return to
conceive such an idea. And yet...”

“Well, go on.”

“Well, I noticed something that seemed to indicate he is not so sure

as he was yesterday of my utter ignorance of all he has thought
proper to hide from me.”

“I agree with you, Ginevra. And shall I tell you what I think?”

“Tell me.”

“That he supposes me to be the mask he addressed by mistake, and

does me the honor of supposing I have denounced him.”

“What an idea!... Why should he suppose it was you?”

“Oh! by that aberration of mind common to gentlemen who frequent

masked balls and persist in thinking they are right every time they
are mistaken.”

“But once more: Why should he suppose you were at the ball? Your
secret has been as well kept as mine, I imagine.”

“Not quite. In the first place, I spoke to several persons. And when
Mario came to deliver your message, I could not repress an
exclamation of surprise, which betrayed me, not only to your
brother, but to Lando, on whose arm I was then leaning. I do not
know whether it was he or not who spread the report, but it has
certainly been whispered around that I attended the Festino.
Lorenzo has taken the idea I have mentioned into his head, and of
course supposes what I know has been communicated to you, or will
be. This is what I have been wishing to say to you.”

My faithful Ottavia now made her appearance to warn me it was

time to retire. Stella left me, and, after her departure, I began to
reflect on her conjecture and consider what reply I should make,
should Lorenzo question me on the subject. I was far from
suspecting the means he would adopt to anticipate the scene he
foresaw.

I was alone the following morning when I saw him enter, calm,
smiling, and self-possessed, as if there was no actual or possible
cloud between us. He spoke of my health, and, satisfied that I was
really better, proceeded to more indifferent subjects, and then
suddenly, with an assurance the recollection of which still astonishes
me, he said:

“Apropos, Ginevra, the Marchesa di Villanera has been in Naples

several days.”

I turned pale.

“Oh! do not be alarmed,” said he. “I have not the slightest intention
of asking you to receive her. I remember too well the sentiments you
expressed on this point at Paris. No, I wish instead to let you know I
am going to escort her to Milan myself, and shall remain there till
after the Carnavalone.”83

My heart gave a violent bound. I could not utter a word, but the
surprise that rendered me dumb enabled me to be calm, and, when
I finally recovered my voice, I said:

“You are at liberty to go where you please, Lorenzo. It is a liberty,

moreover, you have always had, and have already made use of, and
I cannot conceive why this time (I emphasized these words) you feel
obliged to tell me the precise object of your journey.”
“Because I wish to be frank with you this time, and I should have
been so before had I not remembered [pg 310] your reproaches,
and wished to spare you the occasion of renewing them. Besides, I
no longer have it in my power to prevent your jealousy, or forbid the
conjectures you think proper to indulge in.”

“Lorenzo!” I said almost in a scream, and I was on the point of

giving utterance to all that filled my heart to overflowing when, with
the stern, imperious accent he knew how to assume, though without
rudeness or the least violence, he stopped me.

“Not another word, Ginevra; not one, I beg, out of love for yourself.
Do not destroy your future happiness in a moment of anger! There
are some things I will not listen to, and which, for your own interest
as well as mine, I forbid your saying!”

I had no chance to reply, for he took my hand before I could prevent

it, and said:

“Au revoir, Ginevra. I hope, at my return, to find you as calm and

reasonable as I desire.”

He kissed my hand and left the room.

The state in which he left me cannot be described. I need not say

how incapable I was of reflection, of effort, or any struggle whatever
against the feelings it was natural I should have. I felt outraged as it
seemed to me no woman had ever been. My mind lost its clearness,
my judgment was impaired, and for some hours I was wild.

After Lorenzo's departure, it seemed impossible to remain alone. I

could not endure inaction and repose for an instant. I ordered my
carriage for a drive—not, as usual, with Stella and in a direction
where I should find solitude, but, on the contrary, where I was most
sure of meeting a crowd. I smilingly returned the numerous
salutations I received, and, instead of appearing troubled or
downcast, I looked around with eager interest, as if hoping to find
some means of escaping from myself and leaving my troubles
forever behind me.

I returned home as late as possible, and found Stella awaiting me.

She had been disappointed at my not calling for her, and had come
to ascertain the reason. Finding I had gone out, she was surprised I
had forgotten her, but was still more so when I told her I should go
to the ball at the French ambassador's that evening. I seldom went
anywhere alone, and it was only the day before I had told her
decidedly I should never attend another ball. Her eyes were fastened
on me with a look of sympathy, as she said:

“Poor Ginevra!”

I begged her in a hasty, irritated manner not to waste any pity on

me, and then added:

“To-morrow, if you like, we will talk about it; but not to-day, I beg.
Let us give our whole thoughts to the ball. You will go, I hope.”

“Yes, if you have really decided to go.”

“That is right. Good-by till this evening, then.”

Thus dismissed, she left me, and I summoned my waiting-maid to

do what I had never required before. I ordered everything I was to
wear to be spread out before me. I examined my diamonds and
pearls, and gave the most minute directions about the way I
intended to wear them. I then began my toilet, though long before
the time, and was as long about it as possible. So many women,
thought I, seem to take infinite pleasure in creating a sensation
when they enter a ball-room, receiving compliments [pg 311] and
homage on all sides, why should I not try this means of diversion as
well as other people? I am beautiful, there is no doubt; very
beautiful, they say. Why should I not endeavor to excite admiration?
Why not become vain and coquettish in my turn?