Hérode had selected for their first representation in Poitiers a new play, which all the comedians were very much occupied in learning and rehearsing, to be followed by the Rodomontades of Captain Fracasse, in which de Sigognac was to make his real debut before a real public having only acted as yet to an audience of calves, horned cattle, and peasants in Bellombre’s barn. He was studying diligently under the direction of Blazius, who was more devoted to him than ever, and who had proposed something which was a most welcome suggestion to the sensitive young baron. This was for him to wear what is called a half-mask, which covers only the forehead and nose, but if arranged with skill alters entirely the wearer’s appearance—so that his nearest friend would not recognise him—without interfering materially with his comfort. This idea de Sigognac hailed with delight, for it insured his preserving his incognito; the light pasteboard screen seemed to him like the closed visor of a helmet, behind which he need not shrink from facing the enemy—that is to stay the gazing crowd on the other side of the foot-lights. With it he would take merely the part of the unknown, concealed intelligence that directs the movements of the marionette, and the voice that makes it speak; only he should be within it, instead of behind the scenes pulling the strings—his dignity would have nothing to suffer in playing the game in that manner, and for this relief from a dreaded ordeal he was unspeakably thankful. Blazius, who never could take too much pains in the service of his dear baron, himself modelled and fashioned the little mask, very deftly, so as to make his stage physiognomy as unlike his real, every-day countenance as possible. A prominent nose, very red at the point, bushy, high-arched eyebrows, and an immensely heavy mustache drooping over his mouth, completely disguised the well-cut, regular features of the handsome young nobleman, and although in reality it only concealed the forehead and nose, yet it transfigured the whole face.