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to wear it while sitting for her portrait. The picture one may still see in the Palais des Beaux Arts at Nantes (the Bretonne Room). It represents her standing straight as an arrow, a lone little figure in the centre of a treeless moor. The painting of the robe is said to be very wonderful. "Malvina of Brittany" is the inscription, the date being Nineteen Hundred and Thirteen.

The next year Malvina was no longer there. Madame Lavigne, folding knotted hands, had muttered her last paternoster. Père Jean had urged the convent. But for the first time, with him, she had been frankly obstinate. Some fancy seemed to have got into the child's head. Something that she evidently connected with the vast treeless moor rising southward to where the ancient menhir of King Taramis crowned its summit. The good man yielded, as usual. For the present there were Madame Lavigne's small savings. Suzanne's wants were but few. The rare shopping necessary Father Jean could see to himself. With the coming of winter he would broach the subject again, and then be quite firm. Just these were the summer