manner. He felt the necessity of making some conversation.
"And for whom is this Neptunerie destined?"
"For the Abbey of Saint-Antoine des Champs," answered Fleur-de-Lys, without raising her eyes.
The captain took up a corner of the tapestry.
"Who, my fair cousin, is this big gendarme, who is puffing out his cheeks to their full extent and blowing a trumpet?"
"'Tis Triton," she replied.
There was a rather pettish intonation in Fleur-de-Lys's laconic words. The young man understood that it was indispensable that he should whisper something in her ear, a commonplace, a gallant compliment, no matter what. Accordingly he bent down, but he could find nothing in his imagination more tender and personal than this,—
"Why does your mother always wear that surcoat with armorial designs, like our grandmothers of the time of Charles VII.? Tell her, fair cousin, that 'tis no longer the fashion, and that the hinge (gond) and the laurel (laurier) embroidered on her robe give her the air of a walking mantlepiece. In truth, people no longer sit thus on their banners, I assure you."
Fleur-de-Lys raised her beautiful eyes, full of reproach, "Is that all of which you can assure me?" she said, in a low voice.
In the meantime, Dame Aloïse, delighted to see them thus bending towards each other and whispering, said as she toyed with the clasps of her prayer-book,—
"Touching picture of love!"
The captain, more and more embarrassed, fell back upon the subject of the tapestry, — "'Tis, in sooth, a charming work!" he exclaimed.
Whereupon Colombe de Gaillefontaine, another beautiful blonde, with a white skin, dressed to the neck in blue damask, ventured a timid remark which she addressed to Fleur-de-Lys, in the hope that the handsome captain would reply to it, "My dear Gondelaurier, have you seen the tapestries of the Hôtel de la Roche-Guyon?"
