Once, when Maranne was out, M. Joyeuse keeping faithful watch over the studio and its new apparatus, heard two little strokes given on the ceiling of the apartment below, two separate, very distinct strokes, then a cautious pattering of fingers, like the scamper of mice. The friendliness of the photographer with his neighbours sufficiently authorized these communications like those of prisoners. But what did they mean? How reply to what seemed a call? Quite at hazard, he repeated the two strokes, the light tapping, and the conversation ended there. On the return of Andre Maranne he learned the explanation of the incident. It was very simple. Sometimes, in the course of the day, the young ladies below, who only saw their neighbour in the evening, would inquire how things were going with him, whether any clients were coming in. The signal he had heard meant, “Is business good to-day?” And M. Joyeuse had replied, obeying only an instinct without any knowledge, “Fairly well for the season.” Although young Maranne was very red as he made this affirmation, M. Joyeuse accepted his word at once. Only this idea of frequent communications between the two households made him afraid for the secrecy of his position, and from that time forward he cut himself off from what he used to call his “artistic days.” Moreover, the moment was approaching when he would no longer be able to conceal his misfortune, the end of the month arriving, complicated by the ending of the year. Paris was already assuming the holiday appearance which it wears during the last weeks of December. In the way of national or popular rejoicing it had little left but that. The follies of the Carnival died with Gavarni, the religious festivals with their peals of bells which one scarcely hears amid the noise of the streets confine themselves within their heavy church-doors, the 15th of August has never been anything but the Saint Charles-the-Great of the barracks; but Paris has maintained its observance of New Year’s Day.