The most sinister feature of entertainments organised by Xavier was the intervals. Xavier laid stress on intervals; they gave repose, and in many cases they saved money. All Paris managers are inclined to give to the interval the importance of a star turn, and Xavier in this respect surpassed his rivals, though he perhaps regarded his cloak-rooms, which were organised to cause the largest possible amount of inconvenience to the largest possible number of people, as his surest financial buttress. Xavier could or would never see the close resemblance of intervals to wet blankets, extinguishers, palls and hostile critics. The Allegro movement of the Concerto was a real success, and the audience as a whole would have applauded even more if the gallery in particular had not applauded so much. The second or Larghetto movement was also a success, but to a less degree. As for the third and last movement, it put the gallery into an ecstasy while leaving the floor in possession of full critical faculties. Musa retired and had to return, and when he returned the floor good-humouredly joined the vociferous gallery in laudations, and he had to return again. Then the interminable interval. Silence! Murmurings! Silence! Creepings towards exits! And in many, very many hearts the secret trouble question: "Why are we here? What have we come for? What is all this pother about art and genius? Honestly, shall we not be glad and relieved when the solemn old thing is over?"... And the desolating, cynical indifference of the conductor and the orchestra! Often there is a clearer vision of the truth during the intervals of a classical concert than on a deathbed. Audrey was extremely depressed in the interval after the Beethoven Concerto and before the Lalo. But she was not depressed by the news of the accident to the Zacatecas Oil Corporation in which was the major part of her wealth. The tidings had stunned rather than injured that part of her which was capable of being affected by finance. She had not felt the blow. Moreover she was protected by the knowledge that she had thousands of pounds in hand and also the Moze property intact, and further she was already reconsidering her newly-acquired respect for money. No! What depressed her was a doubt as to the genius of Musa. In the long dreadful pause it seemed impossible that he should have genius. The entire concert presented itself as a grotesque farce, of which she as its creator ought to be ashamed. She was ready to kill Xavier or his responsible representative. Then she saw the tall and calm Rosamund, with her grey hair and black attire and her subduing self-complacency, making a way between the rows of stalls towards her. "I wanted to see you," said Rosamund, after the formal greetings. "Very much." Her voice was as kind and as unrelenting as the grave. At this point Miss Ingate ought to have yielded her seat to the terrific Rosamund, but she failed to do so, doubtless by inadvertence.