owned them. No Mansard roof here, no pseudo "Queen Anne" hybrid, with lowering, top-heavy projections like scowling eyebrows over squinting eyes; neither mongrel Renaissance, nor feeble, sickly, imitation Elizabethan facades, and Tudor towers; none of the queer, composite, freakish impertinences of architectural style, which now-a-day do duty as the adventurous vanguard, the aesthetic vedettes "making straight the way," for the coming cohorts of Culture.

The house at "Elm Bluff" was built of brick, overcast with stucco painted in imitation of gray granite, and its foundation was only four feet high, resting upon a broad terrace of brickwork; the latter bounded by a graceful wooden balustrade, with pedestals for vases, on either side of the two stone steps leading down from the terrace to the carriage drive. The central halls, in both stories, divided the space equally into four rooms on each side, and along the wide front, ran a lofty piazza supporting the roof, with white smooth round pillars; while the upper broad square windows, cedar-framed, and deeply embrasured, looked down on the floor of the piazza, where so many generations of Darringtons had trundled hoops in childhood—and promenaded as lovers in the silvery moonlight, listening to the ring doves cooing above them, from the columbary of the stucco capitals. This spacious colonnade extended around the northern and eastern side of the house, but the western end had formerly been enclosed as a conservatory—which having been abolished, was finally succeeded by a comparatively modern iron veranda, with steps leading down to the terrace. In front of the building, between the elm avenue and the flower-bordered terrace, stood a row of very old poplar trees, tall as their forefathers in Lombardy, and to an iron staple driven into one of these, a handsome black horse was now fastened.

Standing with one foot on the terrace step, close to the marble vases where heliotropes swung their dainty lilac chalices against her shoulder, and the scarlet geraniums stared unabashed, Beryl's gaze wandered from the lovely park and ancient trees, to the unbroken facade of the gray old house; and as, in painful contrast she recalled the bare bleak garret room, where a beloved invalid held want and death at bay, a sudden mist clouded her vision, and almost audibly she murmured: "My poor mother! Now, I can realize the bitterness of your suffering; now I understand the intensity of your yearning to come back; the terrible home-sickness, which only Heaven can cure."

What is presentiment? The swaying of the veil of futurity, under the straining hands of our guardian angels? Is it the faint shadow, the solemn rustle of their hovering wings, as like mother birds they spread protecting plumes between blind fledglings, and descending ruin? Will theosophy ever explain and augment prescience?

             "It may be—
The thoughts that visit us, we know not whence,
Sudden as inspiration, are the whispers
Of disembodied spirits, speaking to us
As friends, who wait outside a prison wall,
Through the barred windows speak to those within."

With difficulty Beryl resisted an inexplicable impulse to turn and flee; but the drawn sword of duty pointed ahead.

Striking her hands together, as if thereby crushing her reluctance to enter, she waited a moment, with closed eyes, while her lips moved in silent prayer; then ascending the terrace, she crossed the stone pavement, walked up the stops and slowly advanced to the threshold. The dark mahogany door was so glossy, that she dimly saw her own image on its polished panels, as she lifted and let fall the heavy silver knocker, in the middle of an oval silver plate, around the edges of which were raised the square letters of the name "Darrington." The clanging sound startled a peacock, strutting among the verbena beds, and his shrill scream was answered by the deep hoarse bark of some invisible dog; then the heavy door swung open, and a gray-headed negro man, who wore a white linen apron over his black clothes, and held a waiter in one hand, stood before her.

"I wish to see Mr. Darrington."

"I reckon you mean Gin'l Darrington, don't you? Mr. Darrington, Marse Prince Darrington, is in Yurope."

"I mean Mr. Luke Darrington, the owner of this place."

"Jess so; Gin'l Luke Darrington. Well, you can't see him."

"Why not? I must see him, and I shall stay here until I do."

"'Cause he is busy with his lie-yer, fixin' of some papers; and when he tells me not to let nobody else in I'de ruther set down in a yaller jacket's nest than to turn the door knob, after he done shut it. Better leave your name and call ag'in."

"No, I will wait until he is at leisure. I presume my sitting on the steps here will not be a violation of your orders."

"To be shore not. But them steps are harder than the stool of repentance, and you had better walk in the drawing-room, and rest yourself. There's pictures, and lots and piles of things there, you can pass away the time looking at."

He waved his waiter toward a long, dim apartment, on the left side of the hall.

"Thank you, I prefer to sit here."

She seated herself on the top of the stone steps, and taking off her straw hat, fanned her heated brow, where the rich waving hair clung in damp masses.

"What name, miss, must I give, when the lie-yer finishes his bizness?"

"Say that a stranger wishes to see him about an important matter."

"Its mighty uncertain how long he will tarry; for lie-yers live by talking; turning of words upside down, and wrong side outards, and reading words backards, and whitewashing black things, and smutting of white ones. Marse Lennox Dunbar (he is our lie-yer now, since his pa took paralsis) he is a powerful wrastler with justice. They do say down yonder, at the court house, that when he gets done with a witness, and turns him aloose, the poor creetur is so flustrated in his mind, that he don't know his own name, on when he was born, or where he was born, or whether he was ever born at all."

Curiosity to discover the nature of the stranger's errand had stimulated the old man's garrulity, but receiving no reply, he finally retreated, leaving the front door open. By the aid of a disfiguring scar on his furrowed cheek, Beryl recognized him as the brave, faithful, family coachman, Abednego, (abbreviated to "Bedney")—who had once saved his mother's life at the risk of his own. Mrs. Brentano had often related to her children, an episode in her childhood, when having gone to play with her dolls in the loft of the stable, she fell asleep on the hay; and two hours later, Bedney remembering that he had heard her singing there to her dolls, rushed into the burning building, groped through the stifling smoke of the loft, and seizing the sleeping child, threw her out upon a pile of straw. When he attempted to jump after her, a falling rafter struck him to the earth, and left an honorable scar in attestation of his heroism.

Had she yielded to the promptings of her heart, the stranger would gladly have shaken hands with him, and thanked him, in the name of those early years, when her mother's childish feet made music on the wide mahogany railed stairs, that wound from the lower hall to the one above; but the fear of being denied an audience, deterred her from disclosing her name.

Educated in the belief that the utterance of the abhorred name of Brentano, within the precincts of "Elm Bluff," would produce an effect very similar to the ringing of some Tamil Pariah's bell, before the door of a Brahman temple, Beryl wisely kept silent; and soon forgot her forebodings, in the contemplation of the supreme loveliness of the prospect before her.

The elevation was sufficient to command an extended view of the surrounding country, and of the river, which crossed by the railroad bridge north of the town, curved sharply to the east, whence she could trace its course as it gradually wound southward, and disappeared behind the house; where at