"Father," he said, "if you do not deem the occupation unworthy of the sacred character with which you are invested, I will ask you to help me make my marionettes. A worthy tradesman, Joly by name, has this very morning given me a pretty heavy order. Whilst I am painting these figures already put together, you will do me a great service by cutting out heads, arms, legs, and bodies from the patterns here. Better you could not find; they are after Watteau and Boucher." "I agree with you, sir," replied Longuemare, "that Watteau and Boucher were well fitted to create such-like baubles; it had been more to their glory if they had confined themselves to innocent figures like these. I should be delighted to help you, but I fear I may not be clever enough for that." The Pere Longuemare was right to distrust his own skill; after sundry unsuccessful attempts, the fact was patent that his genius did not lie in the direction of cutting out pretty shapes in thin cardboard with the point of a penknife. But when, at his suggestion, Brotteaux gave him some string and a bodkin, he showed himself very apt in endowing with motion the little creatures he had failed to make and teaching them to dance. He had a happy knack, by way of trying them afterwards, of making them each execute three or four steps of a gavotte, and when they rewarded his pains, a smile would flicker on his stern lips. One time when he was pulling the string of a Scaramouch to a dance tune: "Sir," he observed, "this little travesty reminds me of a quaint story. It was in 1746, when I was completing my noviciate under the care of the Pere Magitot, a man well on in years, of deep learning and austere morals. At that period, you perhaps remember, dancing figures, intended in the first instance to amuse children, exercised over women and even over men, both young and old, an extraordinary fascination; they were all the rage in Paris. The fashionable shops were crammed with them; they were to be found in the houses of people of quality, and it was nothing out of the way to see a grave and reverend senior dancing his doll in the streets and public gardens. The Pere Magitot's age, character, and sacred profession did not avail to guard him against infection. Every time he saw anyone busy jumping his cardboard mannikin, his fingers itched with impatience to be at the same game,--an impatience that soon grew well nigh intolerable. One day when he was paying a visit of importance on a matter involving the interests of the whole Order to Monsieur Chauvel, advocate in the courts of the Parlement, noticing one of these dancers hanging from the chimney-piece, he felt a terrible temptation to pull its string, which he only resisted at the cost of a tremendous effort. But this frivolous ambition pursued him everywhere and left him no peace. In his studies, in his meditations, in his prayers, at church, at chapter, in the confessional and in the pulpit, he was possessed by it. After some days of dreadful