“I am going to bed now,” she said. “I wanted to see you from what Papa told me. May I kiss you?” She felt that he was watching her through his half-closed eyes. “There are those cottages,” he continued, “just before you come to the bridge. They might be repaired and a club house added. The idea is catching on, they tell me. Garden villages, they call them now. It gets the men and women away from the dirty streets; and gives the children a chance.”!

There was a little humorous smile about his mouth. But his eyes were serious and pleading. “I want you to be something more to me than that, sir,” she said. “I want to feel that I’m an Allway, fighting for the things we’ve always had at heart. I’ll try and be worthy of the name.”

He pushed back his chair and rose. “Shall we join the others?” he said. Returning to the interior, Joan had duly admired the Cheyne monument, but had been unable to disguise her amusement before the tomb of Mrs. Colvile, whom the sculptor had represented as a somewhat impatient lady, refusing to await the day of resurrection, but pushing through her coffin and starting for Heaven in her grave-clothes. Pausing in front of the Dacre monument, Joan wondered if the actor of that name, who had committed suicide in Australia, and whose London address she remembered had been Dacre House just round the corner, was descended from the family; thinking that, if so, it would give an up-to-date touch to the article. She had fully decided now to write it. But Mary Stopperton could not inform her. They had ended up in the chapel of Sir Thomas More. He, too, had “given up things,” including his head. Though Mary Stopperton, siding with Father Morris, was convinced he had now got it back, and that with the remainder of his bones it rested in the tomb before them. The girl flushed with pleasure. It was a striking face, with intelligent eyes and a mobile, sensitive mouth. “Oh, yes,” she said, “I could act all right. I feel it. But you don’t get out of the chorus. Except at a price.”