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 Rita about her sister, I had told her that I thought Therese used to knock it down on purpose with a broom, and Dona Rita had laughed very much. This, she had said, was an instance of dislike from mere instinct. That dummy had been made to measure years before. It had to wear for days and days the Imperial Byzantine robes in which Dona Rita sat only once or twice herself; but of course the folds and bends of the stuff had to be preserved as in the first sketch. Dona Rita described amusingly how she had to stand in the middle of her room while Rose walked around her with a tape measure noting the figures down on a small piece of paper which was then sent to the maker, who presently returned it with an angry letter stating that those proportions were altogether impossible in any woman. Apparently Rose had muddled them all up; and it was a long time before the figure was finished and sent to the Pavilion in a long basket to take on itself the robes and the hieratic pose of the Empress. Later, it wore with the same patience the marvellous hat of the "Girl in the Hat." But Dona Rita couldn't understand how the poor thing ever found its way to Marseilles minus its turnip head. Probably it came down with the robes and a quantity of precious brocades which she herself had sent down from Paris. The knowledge of its origin, the contempt of Captain Blunt's references to it, with Therese's shocked dislike of the dummy, invested that summary reproduction with a sort of charm, gave me a faint and miserable illusion of the original, less artificial than a photograph, less precise, too. . . . But it can't be explained. I felt positively friendly to it as if it had been Rita's trusted personal attendant. I even went so far as to discover