BEHOLD Martin, the professor, transformed into the perfect waiter—perfect, at least, in zeal, manner and habiliment. His dress suit, of ardent cut but practically unworn, gave the _salle-à-manger_ an air of startling refinement and prosperity. At first Bigourdin, embarrassed by the shifting of the relative position, had deprecated this outer symbol of servitude. A man could wait in a lounge suit just as well as in a tail-coat—a proposition which Fortinbras vehemently controverted. He read his perplexed brother-in-law a lecture on the psychology of clothes. They had a spiritual significance, bringing subjective and objective into harmony. A judge could not devote his whole essence to the administration of justice if he were conscious of being invested in the glittering guise of a harlequin. If Martin wore the tweeds of the tourist he would feel inharmonious with his true waiter-self, and therefore could not wait with the perfect waiter’s spiritual deftness. Besides, he had not counselled his disciple to wait as an amateur. The way of the amateur was perdition. No, when Martin threw his napkin under his left arm, he should flick a bit of his heart into its folds, like a true professional. “Arrange it as you like,” said the weary Bigourdin. Fortinbras arranged and Martin became outwardly the perfect waiter. Of the craft itself he had much to learn, chiefly under the guidance of Bigourdin and sometimes under the shy instruction of Félise. Its many calls on intelligence and bodily skill surprised him. To balance a piled-up tray on one bent-back hand required the art of a juggler. He practised for days with a trayful of bricks before he trusted himself with plates and dishes. By means of this exercise his arm became muscular. He discovered that the long, grave step of the professor—especially when he bore a load of eatables—did not make for the perfect waiter’s celerity. He acquired the gentle arts of salad making and folding napkins into fantastic shapes. Never handy with his fingers, and, like most temperate young men in London lodgings, unaccustomed to the corkscrew, he found the clean prestidigitation of cork-drawing a difficult accomplishment. But he triumphed eventually in this as in all other branches of his new industry. And he liked it. It amused and interested him. It was work of which he could see the result. The tables set before the meal bore testimony to his handicraft. Never had plate been so polished, cutlery so lustrous, glass so transparent in the hundred years history of the Hôtel des Grottes. And when the guests assembled it was a delight to serve them according to organised scheme and disarm criticism by demonstration of his efficiency. He rose early and went to bed late, tired as a draught-dog and slept the happy sleep of the contented human. Bigourdin praised him, but shrugged his shoulders. “What you are doing it for, _mon ami_, I can’t imagine.”