Did she fancy it, or did the figure salute her? Then came the quick ring of heels on the old stone pavement. She knew his footsteps, even as she knew every vibrant, eager inflection of his voice. He went away, across the Square, like one who, having bent his knee to a saint, turns back to the business of the world.

In the boudoir the Archduchess had picked up some knitting to soothe her jangled nerves. "You may play now, Hilda," she said.

Into Hilda's care-free young life came two bad hours each day. One was the dinner hour, when she ate under her mother's pitiless eyes. The other was the hour after dinner, when, alone in the white drawing-room beyond the boudoir, with the sliding doors open, she sat at the grand piano, which was white and gold, like the room, and as cold, and played to her mother's pitiless ears.

She went slowly into the drawing-room. Empty, it was a dreary place. The heavy chandeliers of gold and cut glass were unlighted. The crimson and gilt chairs were covered with white linen. Only the piano, a gleaming oasis in a desert of polished floor, was lighted, and that by two tall candles in gilt candlesticks that reached from the floor. Hilda, going reluctantly to her post, was the only bit of life and color in the room.

At last Annunciata dozed, and Hilda played softly. Played now, not for her mother, but for herself. And as she played she dreamed: of Hedwig's wedding, of her own debut, of Karl, who had fed her romantic heart by treating her like a woman grown.

The Countess's opportunity had come. She put down the dreary embroidery with which she filled the drearier evenings, and moved to the window. She walked quietly, like a cat.

Her first words to Hedwig were those of Peter Niburg as he linked arms with his enemy and started down the street. "A fine night, Highness," she said.

Hedwig raised her