affair reaches old Sillocks’s ears, good bye to Beatrice; hang it! I’d have discovered something if I’d gone. (sits R. of table.)

Inn. (rises and coming C.) It wasn’t much, but I discovered something—I learnt that Ethel had a sister, a governess. Did you know Ethel had a sister, a governess?

Corn. Yes, but I never saw her!

Inn. Knew you’d think I hadn’t tried, if I didn’t find out something; so obtained the address of Sister, at a situation in Chester—went to Chester; sister had left—referred to a friend. Miss Topping; found Topping; worked round stealthily to subject, but the moment I mentioned Ethel’s name, Miss T. shut up like an Oyster; no news there, except that Ethel’s sister, Madeline Mifton——

Corn. Yes!

Inn. Had gone to a situation as governess, in London. Resigned a good situation, for “some ridiculous notion”—that’s what Miss T. called it—of coming to London—to look up—or hunt down—a young man to whom her sister was or had been engaged.

Corn. (delighted) Ridiculous notion! Good for Topping! She might as well search for a needle in a haystack—I’m safe enough.

Knock; Mary crosses from R. to L. at back.

Inn. I wonder she didn’t pursue you herself, instead of putting the sister on your track.

Corn. Well, Ethel is something like myself—she cannot stand worry.

Door slam; enter Mary C. from L.; Innings goes to R. of table.

Mary. Mr. Tompkins!

Corn. Show him in, and I’ll send Mr. Dunn to him. (Mary exits to L.; Corney goes over to door R.) Peter! Here’s Mr. Tompkins—I’m going to the Theatre Phil, so I can’t stop and entertain you. I’m immensely tickled with the idea of the Sister coming to London to hunt me down. I shall think of nothing else all the evening.

Dunn. (speaking as he enters from room R.) How de do, Tompkins, (Innings going towards Dunn) why, it’s Innings! (Dunn down to couch) I thought you said Mr. Tompkins was here.

Corn. He is here.

Dunn. Where?

Corn. There! (indicating hall off C.) How you do worry, Peter!

Corney and Innings exit into dining-room R., as Tompkins enters L. C.; Dunn rises and meets him C.

Tomp. Let me thank you, Mr. Dunn, for taking such particular care of my treasure. It was most considerate of you to bring it into your own house.

Tompkins posing L. C.

Dunn. (R. C.) Not at all! I was anxious to have it unpacked, just to make sure it hadn’t suffered in shipment.

Tomp. (enthusiastically—taking off gloves) Ah! you thought of the centuries that beautiful form had retained its completeness, without damage or disfigurement, and were impressed with a tender, almost loving, care.

Dunn. Not a bit! I thought of the loss to our Company if it got chipped. There was no sentiment or friendship in the business. Sentiment’s all very well, but there’s no money in it.

Dunn crosses to window, L. C.; Sillocks enters from dining-room R.; lights begin to go slowly down.

Sill. (R. C.) How do you do, Mr. Tompkins. I congratulate you Sir, on the possession of such a gem.

Tomp. (L. C.) Beautiful, is it not?

Sill. (R. C.) Grand! A painting like that——

Tomp. Painting! I am speaking of my Statue, Niobe.

Sill. Oh, I haven’t seen it.

Tomp. (C.) Ah, when you do! Where among your moderns is a work like it? Where among your Sculptors, the peer of Phidias, Praxiteles, Scophas or Polydorus of Rhodes?

Dunn. (L. of table) And which of the whole lot would compare with Edison?

Tomp. Ah, Dunn! You are not familiar with the Elgin Marbles.

Dunn. Haven’t played a game since I was a boy! (sits L. of table)

Tomp. (despondently) Sculpture is dead now Sillocks.

Sill. Don’t despond Tompkins, it may revive!

Dunn. Sculpture’s right enough in its way—but it isn’t in it with the Telephone, or the Telegraph, or the Tape, or the Typewriter.

Tomp. Ugh! All such inventions tend to warp the noblest traits of human nature.

Dunn. Statues are all right for decorating Parks, but there’s no money in them.

Sill. I’m in favor of the modern myself.

Tomp. And I sigh for the Antique—(sits R. of table L. C.) I should like to have lived in the days of Homer!

Dunn. Not for me. I can’t fancy existence without cheap postage, fast steamers, and penny-in-the-slot machines. I countenance every improvement. Move with the times I say, and get ahead of ’em if you can. (rise) I’m getting the Electric light put in now; we make our connection from the street here, just as you do with your gas.

Tomp. I hate gas. I would go back to the pine torch or the days of candles!

Dunn. (L.) Yes! You’re crazed on the subject of Early Greece.

Sillocks laughs.

Tomp. (L. C.) I am, and I glory in it.

Sill. (R.) Well for modern tastes, there isn’t always too much clothing on our remnants of that early period.

Dunn. (crosses to Sillocks) You’re right. That’s one reason the women objected to the Niobe; and it’s decent enough for anything. The dress is apparently split up a bit on one side, and shows part of the knee.

Tomp. (enthusiastically) A