Pickering rose, and we strolled away into the forest, talking of lighter things.  At last we reached the edge of the wood, sat down on a fallen log, and looked out across an interval of meadow at the long wooded waves of the Taunus.  What my friend was thinking of I can’t say; I was meditating on his queer biography, and letting my wonderment wander away to Smyrna.  Suddenly I remembered that he possessed a portrait of the young girl who was waiting for him there in a white-walled garden.  I asked him if he had it with him.  He said nothing, but gravely took out his pocket-book and drew forth a small photograph.  It represented, as the poet says, a simple maiden in her flower—a slight young girl, with a certain childish roundness of contour.  There was no ease in her posture; she was standing, stiffly and shyly, for her likeness; she wore a short-waisted white dress; her arms hung at her sides and her hands were clasped in front; her head was bent downward a little, and her dark eyes fixed.  But her awkwardness was as pretty as that of some angular seraph in a mediæval carving, and in her timid gaze there seemed to lurk the questioning gleam of childhood.  “What is this for?” her charming eyes appeared to ask; “why have I been dressed up for this ceremony in a white frock and amber beads?”

“Gracious powers!” I said to myself; “what an enchanting thing is innocence!”

“That portrait was taken a year and a half ago,” said Pickering, as if with an effort to be perfectly just.  “By this time, I suppose, she looks a little wiser.”

“Not much, I hope,” I said, as I gave it back.  “She is very sweet!”

“Yes, poor girl, she is very sweet—no doubt!”  And he put the thing away without looking at it.

We were silent for some moments.  At last, abruptly—“My dear fellow,” I said, “I should take some satisfaction in seeing you immediately leave Homburg.”

“Immediately?”

“To-day—as soon as you can get ready.”

He looked at me, surprised, and little by little he blushed.  “There is something I have not told you,” he said; “something that your saying that Madame Blumenthal has no reputation to lose has made me half afraid to tell you.”

“I think I can guess it.  Madame Blumenthal has asked you to come and play her game for her again.”

“Not at all!” cried Pickering, with a smile of triumph.  “She says that she means to play no more for the present.  She has asked me to come and take tea with her this evening.”

“Ah, then,” I said, very gravely, “of course you can’t leave Homburg.”

He answered nothing, but looked askance at me, as if he were expecting me to laugh.  “Urge it strongly,” he said in a moment.  “Say it’s my duty—that I must.”

I didn’t quite understand him, but, feathering the shaft with a harmless expletive, I told him that unless he followed my advice I would never speak to him again.

He got up, stood before me, and struck the ground with his stick.  “Good!” he cried; “I wanted an occasion to break a rule—to leap a barrier.  Here it is.  I stay!”

I made him a mock bow for his energy.  “That’s very fine,” I said; “but now, to put you in a proper mood for Madame Blumenthal’s tea, we will go and listen to the band play Schubert under the lindens.”  And we walked back through the woods.

I went to see Pickering the next day, at his inn, and on knocking, as directed, at his door, was surprised to hear the sound of a loud voice within.  My knock remained unnoticed, so I presently introduced myself.  I found no company, but I discovered my friend walking up and down the room and apparently declaiming to himself from a little volume bound in white vellum.  He greeted me heartily, threw his book on the table, and said that he was taking a German lesson.

“And who is your teacher?” I asked, glancing at the book.

He rather avoided meeting my eye, as he answered, after an instant’s delay, “Madame Blumenthal.”

“Indeed!  Has she written a grammar?”

“It’s not a grammar; it’s a tragedy.”  And he handed me the book.

I opened it, and beheld, in delicate type, with a very large margin, an Historisches Trauerspiel in five acts, entitled “Cleopatra.”  There were a great many marginal corrections and annotations, apparently from the author’s hand; the speeches were very long, and there was an inordinate number of soliloquies by the heroine.  One of them, I remember, towards the end of the play, began in this fashion—

“What, after all, is life but sensation, and sensation but deception?—reality that pales before the light of one’s dreams as Octavia’s dull beauty fades beside mine?  But let me believe in some intenser bliss, and seek it in the arms of death!”

“It seems decidedly passionate,” I said.  “Has the tragedy ever been acted?”

“Never in public; but Madame Blumenthal tells me that she had it played at her own house in Berlin, and that she herself undertook the part of the heroine.”

Pickering’s unworldly life had not been of a sort to sharpen his perception of the ridiculous, but it seemed to me an unmistakable sign of his being under the charm, that this information was very soberly offered.  He was preoccupied, he was irresponsive to my experimental observations on vulgar topics—the hot weather, the inn, the advent of Adelina Patti.  At last, uttering his thoughts, he announced that Madame Blumenthal had proved to be an extraordinarily interesting woman.  He seemed to have quite forgotten our long talk in the Hartwaldt, and betrayed no sense of this being a confession that he had taken his plunge and was floating with the current.  He only remembered that I had spoken slightingly of the lady, and he now hinted that it behoved me to amend my opinion.  I had received the day before so strong an impression of a sort of spiritual fastidiousness in my friend’s nature, that on hearing now the striking of a new hour, as it were, in his consciousness, and observing how the echoes of the past were immediately quenched in its music, I said to myself that it had certainly taken a delicate hand to wind up that fine machine.  No doubt Madame Blumenthal was a clever woman.  It is a good German custom at Homburg to spend the hour preceding dinner in listening to the orchestra in the Kurgarten; Mozart and Beethoven, for organisms in which the interfusion of soul and sense is peculiarly mysterious, are a vigorous stimulus to the appetite.  Pickering and I conformed, as we had done the day before, to the fashion, and when we were seated under the trees, he began to expatiate on his friend’s merits.

“I don’t know whether she is eccentric or not,” he said; “to me every one seems eccentric, and it’s not for me, yet a while, to measure people by my narrow precedents.  I never saw a gaming table in my life before, and supposed that a gambler was of necessity some dusky villain with an evil eye.  In Germany, says Madame Blumenthal, people play at roulette as they play at billiards, and her own venerable mother originally taught her the rules of the game.  It is a recognised source of subsistence for decent people with small means.  But I confess Madame Blumenthal might do worse things than play at roulette, and yet make them harmonious and beautiful.  I have never been in the habit of thinking positive beauty the most excellent thing in a woman.  I have always said to myself that if my heart were ever to be captured it would be by a sort of general grace—a sweetness of motion and tone—on which one could count for soothing impressions, as one counts on a musical instrument that is perfectly in tune.  Madame Blumenthal has it—this grace that soothes and satisfies; and it seems the more perfect that it keeps order and harmony in a character really passionately ardent and active.  With her eager nature and her innumerable accomplishments nothing would