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"Yes, I know it," says Geoffrey. Up high the rocks are overgrown with ferns, and drooping things, all green and feathery, that hide small caves and picturesque crannies, through which the bright-eyed Naiads might peep whilst holding back with bare uplifted arms their amber hair, the better to gaze upon the unconscious earth outside. "I begin to think our English cousins are not famous for their veracity," she says, with some scorn. "You seem to doubt every one's word; or is it mine in particular? Yet I spoke the truth. I do not want to marry any one.".
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"In the National Gallery, do you mean?" asks Mona, with a pretty, puzzled frown on her brow. "Oh, no, Geoffrey; I shouldn't like that at all. To be stared at by everybody,—it wouldn't be nice, would it?" "I think the days are lengthening," says Violet, quietly, defending Mona unconsciously, and almost without knowing why. Yet in her heart—against her will as it were—she is making room for this Irish girl, who, with her great appealing eyes and tender ways, is not to be resisted. "You will come first and see Philippa?" she says, in a slow peculiar tone that sounds as if it had been dug up and is quite an antique in its own way. It savors of dust and feudal days. Every one says he or she will be delighted, and all try to look as if the entire hope of their existence is centred in the thought that they shall soon lay longing eyes on Philippa,—whose name in reality is Anne, but who has been rechristened by her enterprising sister. Anne is all very well for everyday life, or for Bluebeard's sister-in-law; but Philippa is art of the very highest description. So Philippa she is, poor soul, whether she likes it or not. "No, of course not," says Mr. Rodney, unblushingly! "as a rule, girls nowadays can't endure men with money.".
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