reward." The introduction to these ANTIQUITIES, setting forth his maxims for the writing of history, might have been composed not three centuries ago, but yesterday—or even to-morrow; so modern is its note.

Hearken to these weighty words:

"Portraiture of characters and events should take the form of one gentleman conversing with another, in the easy tone of good society. The author who sets out to address a crowd defeats his own object; he eliminates the essence of good writing—frankness. You cannot be frank with men of low condition. You must presuppose a refined and congenial listener, a man or woman whom you would not hesitate to take by the hand and lead into the circle of your own personal friends. If this applies to literature of every kind, it applies to history in a peculiar degree.

"History deals with situations and figures not imaginary but real. It demands therefore a combination of qualities unnecessary to the poet or writer of romance—glacial judgment coupled with fervent sympathy. The poet may be an inspired illiterate, the romance-writer an uninspired hack. Under no circumstances can either of them be accused of wronging or deceiving the public, however incongruous their efforts. They write well or badly, and there the matter ends. The historian, who fails in his duty, deceives the reader and wrongs the dead. A man weighted with such responsibilities is deserving of an audience more than usually select—an audience of his equals, men of the world. No vulgarian can be admitted to share those confidences….

"The Greeks figured forth a Muse of History; they dared express their opinions. Genesis, that ancient barrier, did not exist for them. It stands in the way of the modern historian; it involves him in a ceaseless conflict with his own honesty. If he values his skin, he must accommodate himself to current dogmas and refrain from truthful comments and conclusions. He has the choice of being a chronologer or a ballad-monger-obsolete and unimportant occupations. Unenviable fate of those who aspire to be teachers of mankind, that they themselves should be studied with a kind of antiquarian interest, stimulating thought not otherwise than as warning examples! Clio has fallen from her pedestal. That radiant creature, in identifying her interests with those of theocracy, has become the hand-maiden of a withered and petulant mistress, a mercenary slut. So things will remain, till mankind has acquired a fresh body of ethics, corresponding to modern needs. It is useless, it is dangerous, to pour new wine into old bottles…."

He carries out his theory. The work of Monsignor Perrelli is, above all things, a human document—the revelation of a personality cultured and free from prejudice. Indeed, when one considers the religious situation of those days, he seems to be sailing perilously near the wind in some of his theological reflections; so much so, that Mr. Eames often wondered whether this might not account for our ignorance of his later life and the manner of his death. He held it possible that the scholar may have fallen into the clutches of the Inquisition, never again to return to the surface of society. It would explain why the first edition of the ANTIQUITIES is so extremely rare, and why the two subsequent ones were issued, respectively, at Amsterdam and Bale.

Incidentally, the book contains in its nine hundred pages all that could possibly interest a contemporary student about the history and natural products of Nepenthe. It is still a mine of antiquarian information, though large sections of the work have inevitably become obsolete. To bring the ANTIQUITIES up to date by means of a revised and enlarged version enriched with footnotes, appendixes and copious illustrations, was the ambition, the sole ambition, of Mr. Ernest Eames, R.A….

It was not true to say of this gentleman that he fled from England to Nepenthe because he forged his mother's will, because he was arrested while picking the pockets of a lady at Tottenham Court Road Station, because he refused to pay for the upkeep of his seven illegitimate children, because he was involved in a flamboyant scandal of unmentionable nature and unprecedented dimensions, because he was detected while trying to poison the rhinoceros at the Zoo with an arsenical bun, because he strangled his mistress, because he addressed an almost disrespectful letter to the Primate of England beginning "My good Owl"—or for any suchlike reason; and that he now remained on the island only because nobody was fool enough to lend him the ten pounds requisite for a ticket back again.

He came there originally to save money; and he stayed there originally because, if he had happened to die on his homeward journey, there would not have been enough coppers in his pocket to pay for the funeral expenses. Nowadays, having solved the problem of how to live on 85 pounds a year, he stayed for another reason as well: to annotate Perrelli's ANTIQUITIES. It sweetened his self-imposed exile.

He was a dry creature, almost wizened, with bright eyes and a short moustache; unostentatiously dressed; fastidious, reserved, genteel, precise in manner, and living a retired life in a two-roomed cottage somewhere among the vineyards.

He had taken a high degree in classics, though Greek was never much to his taste. It was "runaway stuff"; nervous and sensuous; it opened up too many vistas, philological and social, for his positive mind to assimilate with comfort. Those particles alone—there was something ambiguous, something almost disreputable, in their jocund pliability, their readiness to lend themselves to improper uses. But Latin—ah, Latin was different! Even at his preparatory school, where he was known as a swot of the first water, he had displayed an unhealthy infatuation for that tongue; he loved its cold, lapidary construction; and while other boys played football or cricket, this withered little fellow used to lark about with a note-book, all by himself, torturing sensible English into its refractory and colourless periods and elaborating, without the help of a Gradus, those inept word-mosaics which are called Latin verses. "Good fun," he used to say, "and every bit as exciting as algebra," as though that constituted a recommendation. Often the good form master shook his head, and enquired anxiously whether he was feeling unwell, or had secret troubles of any kind.

"Oh, no, sir," he would then reply, with a funny little laugh. "Thank you, sir. But please, sir! Would you mind telling me whether PECUNIA> really comes from PECUS? Because Adams minor (another swot) ways it doesn't."

Later on, at the University, he used the English language for the sake of convenience—in order to make himself understood by Dons and Heads of Colleges. His thoughts, his dreams, were in Latin.

Such a man, arriving almost penniless on Nepenthe, might have passed a torpid month or two, then drifted into the Club-set and gone to the dogs altogether. Latin saved him. He took to studying those earlier local writers who often composed in that tongue. The Jesuitical smoothness, the saccharine felicity of authors like Giannettasio had just begun to pall on his fancy, when the ANTIQUITIES fell into his hands. It was like a draught of some generous southern wine, after a course of barley-water. Here was Latin worth reading; rich, sinewy, idiomatic, full of flavour, masculine. Flexible, yet terse. Latin after his own heart; a cry across the centuries!

So bewitched was Mr. Eames with the grammar and syntax of the ANTIQUITIES that he had already gone through the book three times ere realizing that this man, who could construct such flowing, glowing sentences, was actually writing about something. Yes, he had something of uncommon interest to impart. And a gentleman, by Jove! So different from what one runs up against nowadays. He had an