Very soon the woman who played the violin seemed to recognise Mildred as a better player than herself. She handed her fiddle to a bystander and the gavotte proceeded, the three old ladies bowing and holding up their skirts and pointing their toes with the grace of bygone times. Never, I think, did reality seem more like a dream. "But who are these three women?" I asked myself, and, sinking on a bench like one enchanted, I dreamed that these were three sisters, the remnant of a noble family who had lost its money during several generations till at last nothing remained, and the poor old women had to devise some mode of earning their living. I imagined the scene in some great house which they would have to leave on the morrow, and they talking together, thinking they must go forth to beg, till she who played the fiddle said that something would happen to save them from the shame of mendicancy. I imagined her saying that their last crust of bread would not be eaten before some one would come to tell them that a fortune awaited them. And it so happened that the day they divided this crust the one to whom faith had been given came upon an old letter. She stood reading till the others asked her what she was reading with so much interest. "I told you," she said, "that we should be saved, that God in His great mercy would not turn us out into the streets to beg. This letter contains explicit directions how the gavotte used to be danced when our ancestors lived in the Place des Vosges." "But what help to us to know the true step of the gavotte?" cried the youngest sister. "A great deal," the eldest answered gravely; "I can play the fiddle, and we can all learn to dance; we'll go to dance the gavotte in the Luxembourg Gardens whenever it is fine--the true gavotte as it was danced when Madame de Sévigné drove up in a painted coach drawn by six horses, and entered the courtyard of her hotel decorated with bas-reliefs by Jean Goujon."