The three dotterels, Gideon presumed, were intended to illustrate country pleasures during times of plenty. Now they had their moment. Hastily donning his costume head again, Gideon scampered onto the stage. He hardly had time to be nervous. The trio of birds were chased around by three dotterel-catchers, who duly caught them with wires and cages, before they all scampered off to make room for the windmill and its jousting knight. Gideon experienced the gloom of an entertainer who knows the next act is bound to be more popular.

Soon afterwards, accompanied by solemn music, Peace, Law and Justice descended in gold chariots from stage clouds in the upper flats, three statuesque female deities wearing classical robes of green, purple and white satin. The ladies pronounced compliments to one another in curiously bad poetry before the entire cast moved towards the King and Queen and addressed Their Majesties with sanctimonious song. Gideon was at the back, so could barely glimpse the monarch.

The scene changed. The song changed, though not in quality. A finale was anticipated, yet the dance was interrupted by apparently real stagehands and costume-makers, whose dialogue was significantly more spirited than anything else in the pageant. Backstage, a small girl who was skipping about unattended shrieked with joy. Gideon Jukes had almost fallen over her as she stood below his line of sight, constricted as his vision was through the eyeholes. She pushed him aside, almost sick with excitement as actors playing a painter and a carpenter, a tailor's wife, a feather-maker's wife and an embroiderer's wife exchanged banter on stage. They represented ordinary people from a backstage world to which she had just been introduced by her somewhat frowsty grandmother. 'Juliane! Ou es-tu?' She was eight years old, and had been helping with the costumes, thrilled by the responsibility — but that night she was most entranced that she had seen the Queen.