Joan could not imagine what he was making, and she watched intently. The face grew into that of a charming little lady, with eyes crinkled as if they laughed, and a dimple in her firm chin. The hair waved over the round head; the neck was as softly curved as a pigeon's. The gown met in a V shape at the throat, with a bead necklace carved above. There was a close-fitting bodice, with sleeves that came down over the wrists and wrinkled into folds, and a loose over-sleeve that came to the elbow. The skirt fell in straight folds and there was a little ornamental border in a daisy pattern around the hem. When the statuette was finished and set up, it was like a court lady made small by enchantment. "There is a poppet for thee, small one," Quentin said smiling. Joan's hands clasped tight and her eyes grew big and dark. "For me?" she cried. "It is a poor return for the kindness that I have had in this house," answered Quentin brushing the chips into the brazier. The poppet seemed to bring luck to the hurer's household. Through Gilles, Master Gay had heard of Quentin's work, and he ordered a coffret for his wife, and a settle. The arms of the settle were to be carved with little lady-figures like Joan's, and Master Gay asked if they could not all be portraits of Princesses. Joan's own poppet was named Marguerite for the daughter of the French King, who had married the eldest son of Henry II. Quentin had copied the face from Matteo's sketch upon the wall, and in one room or the other were all the other members of the royal family. But as it would not be suitable to show Queens and Princesses upholding the arms of a chair in the house of a London merchant, Quentin suggested that they change the design, and use the leopards of Anjou for the arms, while the statuettes of the Princesses were ranged along the top of the high back. There could be five open-work arches with a figure in each, and plain linen-fold paneling below. Where the carving needed a flower or so he would put alternately the lilies of France and the sprig of broom which was the badge of the Plantagenets. Thus the piece of carving would commemorate the fact that the family of the King of England was related to nearly every royal house in Europe through marriage. It would be a picture-chronicle. In the middle arch was Marguerite, who would be Queen of England some day if her husband lived. At her right hand was Constance of Brittany, wife of Geoffrey, who through her would inherit that province. The other figures were Eleanor, who was married to Alfonso, King of Castile; Matilda, who was the wife of Henry the Lion, Duke of Saxony, the most powerful vassal of the German Emperor; and Joan, the youngest, betrothed to William, called the Good, King of Sicily. "There will be two more princesses some day," said Joan, cuddling Marguerite in her arms as she watched Quentin's deft strokes. "Prince Richard is not married yet, and neither is Prince John."