the shoulder of the girl at the piano, and with this she seemed to keep
time, pressing gently on the shoulder of the performer to stimulate her
zeal. And that hand was delicious!

A hymn by Palestrina had succeeded the Bach prelude. It was a quartette,
to which two new voices lent their aid. The old priest laid aside his
violoncello, stood up, took off his spectacles, and his deep bass
completed the full measure of the melody.

After the quartette followed a few moments of general conversation,
during which--after embracing the child pianist, who immediately left the
room--the songstress walked to the window. She leaned out as if to
breathe the fresh air, and her profile was sharply relieved against the
bright light behind her, in which the others formed a group around the
priest, who once more donned his spectacles, and drew from his pocket a
paper that appeared to be a manuscript.

The lady leaned from the window, gently fanning herself, as she looked
now at the sky, now at the dark landscape. Camors imagined he could
distinguish her gentle breathing above the sound of the fan; and leaning
eagerly forward for a better view, he caused the leaves to rustle
slightly. She started at the sound, then remained immovable, and the
fixed position of her head showed that her gaze was fastened upon the oak
in which he was concealed.

He felt the awkwardness of his position, but could not judge whether or
not he was visible to her; but, under the danger of her fixed regard, he
passed the most painful moments of his life.

She turned into the room and said, in a calm voice, a few words which