the mother is a beautiful majestic woman in her prime. And see, she sings: a wonderful voice. And lower down, a duet with her daughter: violins and clarionet; how funny; something Hungarian. And in the Second Part, Schubert's Ave Maria—Oh! when we hear that, we dissolve. She was a singer before he married her, they say: a lady by birth one of the first County families. But it was a gift, and she could not be kept from it, and was going, when they met—and it was love! the most perfect duet. For him she abandoned the Stage. You must remember, that in their young days the Stage was many stages beneath the esteem entertained for it now. Domestic Concerts are got up to gratify her: a Miss Fredericks: good old English name. Mr. Radnor calls his daughter, Freddy; so Mr. Taplow, the architect, says. They are for modern music and ancient. Tannhauser, Wagner, you see. Pergolese.

Flute-duet, Mercadante. Here we have him! O—Durandarte: Air Basque, variations—his own. Again, Senor Durandarte, Mendelssohn. Encore him, and he plays you a national piece. A dark little creature a Life- guardsman could hold-up on his outstretched hand for the fifteen minutes of the performance; but he fills the hall and thrills the heart, wafts you to heaven; and does it as though he were conversing with his Andalusian lady-love in easy whispers about their mutual passion for Spanish chocolate all the while: so the musical critic of the Tirra-Lirra says. Express trains every half hour from London; all the big people of the city. Mr. Radnor commands them, like Royalty. Totally different from that old figure of the wealthy City merchant; young, vigorous, elegant, a man of taste, highest culture, speaks the languages of Europe, patron of the Arts, a perfect gentleman. His mother was one of the Montgomerys, Mr. Taplow says.

And it was General Radnor, a most distinguished officer, dying knighted. But Mr. Victor Radnor would not take less than a Barony—and then only with descent of title to his daughter, in her own right.

Mr. Taplow had said as much as Victor Radnor chose that he should say.

Carriages were in flow for an hour: pedestrians formed a wavy coil. Judgeing by numbers, the entertainment was a success; would the hall contain them? Marvels were told of the hall. Every ticket entered and was enfolded; almost all had a seat. Chivalry stood. It is a breeched abstraction, sacrificeing voluntarily and genially to the Fair, for a restoring of the balance between the sexes, that the division of good things be rather in the fair ones' favour, as they are to think: with the warning to them, that the establishment of their claim for equality puts an end to the priceless privileges of petticoats. Women must be mad, to provoke such a warning; and the majority of them submissively show their good sense. They send up an incense of perfumery, all the bouquets of the chemist commingled; most nourishing to the idea of woman in the nose of man. They are a forest foliage—rustle of silks and muslins, magic interweaving, or the mythology, if you prefer it. See, hear, smell, they are Juno, Venus, Hebe, to you. We must have poetry with them; otherwise they are better in the kitchen. Is there—but there is not; there is not present one of the chivalrous breeched who could prefer the shocking emancipated gristly female, which imposes propriety on our sensations and inner dreams, by petrifying in the tender bud of them.

Colonel Corfe is the man to hear on such a theme. He is a colonel of Companies. But those are his diversion, as the British Army has been to the warrior. Puellis idoneus, he is professedly a lady's man, a rose- beetle, and a fine specimen of a common kind: and he has been that thing, that shining delight of the lap of ladies, for a spell of years, necessitating a certain sparkle of the saccharine crystals preserving him, to conceal the muster. He has to be fascinating, or he would look outworn, forlorn. On one side of him is Lady Carmine; on the other, Lady Swanage; dames embedded in the blooming maturity of England's conservatory. Their lords (an Earl, a Baron) are of the lords who go down to the City to sow a title for a repair of their poor incomes, and are to be commended for frankly accepting the new dispensation while they retain the many advantages of the uncancelled ancient. Thus gently does a maternal Old England let them down. Projectors of Companies, Directors, Founders; Railway magnates, actual kings and nobles (though one cannot yet persuade old reverence to do homage with the ancestral spontaneity to the uncrowned, uncoroneted, people of our sphere); holders of Shares in gold mines, Shares in Afric's blue mud of the glittering teeth we draw for English beauty to wear in the ear, on the neck, at the wrist; Bankers and wives of Bankers. Victor passed among them, chatting right and left.

Lady Carmine asked him: 'Is Durandarte counted on?'

He answered: 'I made sure of the Luciani.'

She serenely understood. Artistes are licenced people, with a Bohemian instead of the titular glitter for the bewildering of moralists; as paste will pass for diamonds where the mirror is held up to Nature by bold supernumeraries.

He wished to introduce Nesta. His girl was on the raised orchestral flooring. Nataly held her fast to a music-scroll.

Mr. Peridon, sad for the absence and cause of absence of Louise de Seilles,—summoned in the morning abruptly to Bourges, where her brother lay with his life endangered by an accident at Artillery practise,— Mr. Peridon was generally conductor. Victor was to lead the full force of amateurs in the brisk overture to Zampa. He perceived a movement of Nataly, Nesta, and Peridon. 'They have come,' he said; he jumped on the orchestra boards and hastened to greet the Luciani with Durandarte in the retiring-room.

His departure raised the whisper that he would wield the baton. An opinion was unuttered. His name for the flute-duet with the Hon. Dudley Sowerby had not provoked the reserve opinion; it seemed, on the whole, a pretty thing in him to condescend to do: the sentiment he awakened was not flustered by it. But the act of leading, appeared as an official thing to do. Our soufe of sentiment will be seen subsiding under a breath, without a repressive word to send it down. Sir Rodwell Blachington would have preferred Radnor's not leading or playing either. Colonel Corfe and Mr. Caddis declined to consider such conduct English, in a man of station . . . notwithstanding Royal Highnesses, who are at least partly English: partly, we say, under our breath, remembering our old ideal of an English gentleman, in opposition to German tastes. It is true, that the whole country is changeing, decomposing!

The colonel fished for Lady Carmine's view. And Lady Swanage too? Both of the distinguished ladies approved of Mr. Radnor's leading—for a leading off. Women are pleased to see their favourite in the place of prominence—as long as Fortune swims him unbuffeted, or one should say, unbattered, up the mounting wave. Besides these ladies had none of the colonel's remainder of juvenile English sense of the manly, his adolescent's intolerance of the eccentric, suspicion and contempt of any supposed affectation, which was not ostentatiously, stalkingly practised to subdue the sex. And you cannot wield a baton without looking affected. And at one of the Colonel's Clubs in town, only five years back, an English musical composer, who had not then made his money—now by the mystery of events knighted!—had been (he makes now fifteen thousand a year) black-balled. 'Fiddler? no; can't admit a Fiddler to associate on equal terms with gentlemen.' Only five years back: and at present we are having the Fiddler everywhere.

A sprinkling of the minor ladies also would have been glad if Mr. Radnor had kept himself somewhat more