After the departure of Georges and Oscar, Godeschal sounded the new clerk to discover the joke which, as he thought, lay behind this Marquise de las Florentinas y Cabirolos. But Frederic, with the coolness and gravity of a king’s attorney, continued his cousin’s hoax, and by his way of answering, and his manner generally, he succeeded in making the office believe that the marquise might really be the widow of a Spanish grandee, to whom his cousin Georges was paying his addresses. Born in Mexico, and the daughter of Creole parents, this young and wealthy widow was noted for the easy manners and habits of the women of those climates. “She loves to laugh, she loves to sing, she loves to drink like me!” he said in a low voice, quoting the well-known song of Beranger. “Georges,” he added, “is very rich; he has inherited from his father (who was a widower) eighteen thousand francs a year, and with the twelve thousand which an uncle has just left to each of us, he has an income of thirty thousand. So he pays his debts, and gives up the law. He hopes to be Marquis de las Florentinas, for the young widow is marquise in her own right, and has the privilege of giving her titles to her husband.” Though the clerks were still a good deal undecided in mind as to the marquise, the double perspective of a breakfast at the Rocher de Cancale and a fashionable festivity put them into a state of joyous expectation. They reserved all points as to the Spanish lady, intending to judge her without appeal after the meeting. The Marquise de las Florentinas y Cabirolos was neither more nor less than Mademoiselle Agathe-Florentine Cabirolle, first danseuse at the Gaiete, with whom uncle Cardot was in the habit of singing “Mere Godichon.” A year after the very reparable loss of Madame Cardot, the successful merchant encountered Florentine as she was leaving Coulon’s dancing-class. Attracted by the beauty of that choregraphic flower (Florentine was then about thirteen years of age), he followed her to the rue Pastourel, where he found that the future star of the ballet was the daughter of a portress. Two weeks later, the mother and daughter, established in the rue de Crussol, were enjoying a modest competence. It was to this protector of the arts--to use the consecrated phrase--that the theatre owed the brilliant danseuse. The generous Maecenas made two beings almost beside themselves with joy in the possession of mahogany furniture, hangings, carpets, and a regular kitchen; he allowed them a woman-of-all-work, and gave them two hundred and fifty francs a month for their living. Pere Cardot, with his hair in “pigeon-wings,” seemed like an angel, and was treated with the attention due to a benefactor. To him this was the age of gold.