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"I wish Nick didn't like her so much," says Geoffrey, sadly. "It will cut him up more than all the rest, if he has to give her up." Her confusion, however, and the fact that no one else is near, betrays the secret she fain would hide. "That night at Chetwoode you made use of some words that I have never forgotten since.".

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"I think I shall have Allspice too," goes on Mona. "But say nothing. Lady Rodney, if she knew it, would not allow it for a moment. But Jenkins" (the old butler) "has promised to manage it all for me, and to smuggle my dear dogs up to my room without any one being in the least the wiser." "I think, sir, after that you may consider yourself flattened," says Geoffrey, with a laugh. At last, one day, Old Man decided that he would make a woman and a child, and he modelled some clay in human shape, and after he had made these shapes and put them on the ground, he said to the clay, "You shall be people." He spread his robe over the clay figures and went away. The next morning he went back to the place and lifted up the robe, and saw that the clay shapes had changed a little. When he looked at them the next morning, they had changed still more; and when on the fourth day he went to the place and took off the covering, he said to the images, "Stand up and walk," and they did so. They walked down to the river with him who had made them, and he told them his name. When she has finished, Geoffrey says "thank you" in a low tone. He is thinking of the last time when some one else sang to him, and of how different the whole scene was from this. It was at the Towers, and the hour with its dying daylight, rises before him. The subdued light of the summer eve, the open window, the perfume of the drowsy flowers, the girl at the piano with her small drooping head and her perfectly trained and very pretty voice, the room, the soft silence, his mother leaning back in her crimson velvet chair, beating time to the music with her long jewelled, fingers,—all is remembered..