said to herself as they followed their conductress into another corridor and up a wide, plain staircase. The staircase was spacious and long, and this part of the establishment was sombre and still, with the gravity of a college or a convent. They reached another passage, lined with little doors, on each of which the name of a comedian was painted; and here the aspect became still more monastic, like that of a row of solitary cells. Mademoiselle Voisin led the way to her own door, obligingly, as if she wished to be hospitable, dropping little subdued, friendly attempts at explanation on the way. At her threshold the monasticism stopped. Miriam found herself in a wonderfully upholstered nook, a nest of lamplight and delicate cretonne. Save for its pair of long glasses it looked like a tiny boudoir, with a water-colour drawing of value in each panel of stretched stuff, its crackling fire, its charming order. It was intensely bright and extremely hot, singularly pretty and exempt from litter. Nothing was lying about, but a small draped doorway led into an inner sanctuary. To Miriam it seemed royal; it immediately made the art of the comedian the most distinguished thing in the world. It was just such a place as they should have, in the intervals, if they were expected to be great artists. It was a result of the same evolution as Mademoiselle Voisin herself—not that our young lady found this particular term to her hand, to express her idea. But her mind was flooded with an impression of style, of refinement, of the long continuity of a tradition. The actress said, "Voilà, c'est tout!" as if it were little enough and there were even something clumsy in her having brought them so far for nothing and in their all sitting there
