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Lady Rodney and Violet are sitting over the fire, and now Mona joins them, gowned in the blue satin dress in which she had come to meet Geoffrey, not so many months ago, in the old wood behind the farm. "Yes,—better than all the women I ever met," corrects Mona, but without placing the faintest emphasis upon the word "women," which omission somehow possesses its charm in Rodney's eyes. "Well, come with me, and I'll stay till you turn me out.'.

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He is not sure of anything of the kind, but he says it nevertheless, feeling he owes so much to Violet, as the conversation has drifted towards her, and he feels she is placed—though unknown to herself—in a false position. "'Quite the loveliest girl in the world,' with a heavy stroke under the 'quite.' That's always so, you know: nothing new or striking about that." Sir Nicholas all through is speaking in a tone uniformly moody and disgusted. Of course everybody that is anybody has called on the new Mrs. Rodney. The Duchess of Lauderdale who is an old friend of Lady Rodney's, and who is spending the winter at her country house to please her son the young duke, who is entertaining a houseful of friends, is almost the first to come. And Lady Lillias Eaton, the serious and earnest-minded young æsthetic,—than whom nothing can be more coldly and artistically correct according to her own school,—is perhaps the second: but to both, unfortunately, Mona is "not at home." She is distraite and silent all the morning, taking small notice of what goes on around her. Geoffrey, perplexed too, in spirit, wanders vaguely from pillar to post, unable to settle to anything,—bound by Mona to betray no hint of what happened in the library some hours ago, yet dying to reveal the secret of the panel-cupboard to somebody..