But this was neither time nor place for expressions of anxiety; it would be absurd to trouble every one present with her regrets. Besides, the harm was done--it was irreparable--and while she was turning over in her mind in what manner she could explain to the Mother Superior that the mistake about the hour had been no fault of hers--and the Mother Superior, alas! would be sure to make inquiries as to the friends whom she had visited--the magic violin of M. Szmera played its first notes, accompanied by Madame Odinska on the piano, and by a delicious little flute. They played an overture, the dreamy sweetness of which extorted cries of admiration from all the women. Suddenly, the screens parted, and upon the little platform that represented a stage bounded a sort of anomalous being, supple and charming, in the traditional dress of Pierrot, whom the English vulgarize and call Harlequin. He had white camellias instead of buttons on his loose white jacket, and the bright eyes of Wanda shone out from his red-and-white face. He held a mandolin, and imitated the most charming of serenades, before a make-believe window, which, being opened by a white, round arm, revealed Colette, dressed as Colombine. The little pantomime piece was called ‘Pierrot in Love’. It consisted of a series of dainty coquetries, sudden quarrels, fits of jealousy, and tender reconciliations, played by the two sisters. Colette with her beauty, Wanda with her talent, her impishness, her graceful and voluptuous attitudes, electrified the spectators, especially in a long monologue, in which Pierrot contemplated suicide, made more effective by the passionate and heart-piercing strains of the Hungarian’s violin, so that old Rochette cried out: “What a pity such a wonder should not be upon the stage!” La Rochette, now retired into private life, wearing an old dress, with her gray hair and her black eyes, like those of a watchful crocodile, took the pleasure in the pantomime that all actors do to the very last in everything connected with the theatre. She cried ‘brava’ in tones that might reach Italy; she blew kisses to the actors in default of flowers. Madame d’Avrigny was also transported to the sixth heaven, but Jacqueline’s presence somewhat marred her pleasure. When she first perceived her she had shown great surprise. “You here, my dear?” she cried, “I thought you safe with our own excellent Giselle.” “Safe, Madame? It seems to me one can be safe anywhere,” Jacqueline answered, though she was tempted to say “safe nowhere;” but instead she inquired for Dolly. Dolly’s mother bit her lips and then replied: “You see I have not brought her. Oh, yes, this house is very amusing--but rather too much so. The play was very pretty, and I am sorry it would not do at my house. It is too--too ‘risque’, you know;” and she rehearsed her usual speech about the great difficulties encountered by a lady who wished to give entertainments and provide amusement for her friends.