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The seeds of the whole affair were, I think, to be found in the fact that an ancestor of Madame Troqueville’s had been an Italian lady of high family, who had left a strain, fine, fastidious, civilised—in the morbid way of Italy—to lie hidden in obscurity in the bourgeois stock, and to crop up from time to time with pathetic persistence, in a tragically aristocratic outlook, thin features, and the high, narrow forehead that had given to the pallid beauties of the sixteenth century a look of maladif intellect.

To Madeleine it had also brought a yearning from earliest childhood for a radiant, transfigured world, the inhabitants of which seemed first of all to be the rich merchant families of Lyons.

One of her most vivid memories was an occasion on which a strolling company of players had acted a comedy in the house of a leader among these merchants, a certain Maître Jean Prunier. Although the Troquevilles personally did not know the Pruniers, they had a common friend, and he had taken Madeleine and her parents to the performance. They went into an enormous room filled with benches, with a raised platform at one end. The walls and the ceiling were frescoed with various scenes symbolical of Maître Prunier’s commercial prowess. He was shown riding on woolly waves on the back of a dolphin, presenting a casket of gloves to Marie de Médici, marching in crimson robes at the head of the six guilds of merchants. On the ceiling was his apotheosis. It showed him sitting, his lap full of gloves, on a Lyons shawl, which winged Cherubs were drawing through the air to a naked goddess on a cloud, who was holding out to him a wreath made of Dutch tulips. When Madame Troqueville saw it she shook with laughter, much to Madeleine’s surprise.