And Madame de Berny was very kind; even Aunt Jane could not have been kinder. As to the Chevalier, who came in late at night and departed very early in the morning, she found him a fat, fretful, overworked, but naturally good-hearted little Frenchman, who spent the whole of his one leisure day, Sunday, in smoking a big pipe and reading the French journals. But the queen of the dwelling was Mathilde, a tall, thin blonde, with golden hair, very fine eyes, and a very hard mouth. She dressed very loudly and used a great deal of paint and powder; her whole style, indeed, was ‘fast,’ and, though she was a Frenchman’s daughter, her conversation and all her ideas were vulgarly suggestive of Cockaigne. Her character, however, was unimpeachable; she was far too calculating and worldly wise to commit herself in any way. Her parents adored her. She had the best room in the house, a little study also where she conned her parts, and these were as the sanctuary of a saint. The Chevalier was firmly convinced that she was only prevented by the malice and wickedness of the world from becoming recognised as a great actress. ‘My daughter is too good,’ he would say to his friends; ‘it is her virtue which keeps her back. If she vere like de rest of de vomen on your stage, it would be different--_ah ciel_, yes I De managers are in a conspiracy to give her bad parts and to break her leetel heart.’ And Mathilde herself was of the same opinion. Her face was quite worn and haggard with brooding over her professional wrongs, her heart torn daily by the success of her rivals and the real or fancied neglect of the public. Once or twice a week she had violent fits of hysteria, during which she would think and talk of suicide. Recovering from these, she would eat a hearty dinner and drink large quantities of bottled stout--to which she was very partial, chiefly because it was said to be fattening, and her enemies in the stalls considered her too lean. In the eyes of Madeline, who had hitherto only known the coarse beauties of Grayfleet, Mathilde was a vision of loveliness. The child loved colour and splendour and beauty, and Mathilde seemed to represent all these. The actress’s bedroom, too, was like a palace of enchantment, with its delicate rose-coloured curtains, its white French bed and bedding, its bright carpet, and its delicious perfumes. Mathilde was not particularly fond of children, but homage from any one pleased her, and thus it happened that Madeline became a constant visitor in the sanctuary. When, one day, Mathilde opened her wardrobe and showed all her magnificent costumes, both those she used in private life and those she reserved for the theatre, the bliss of the sight was almost too much to bear. It was like a glimpse of heaven itself!