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"You insult me," says Dorothy, growing even whiter than she was before, "when you speak to me of—of——",

"Is it murder you want to see?" asks she slowly, in a horrified tone. "Go home, Paddy. Go home to your mother." Then, changing her censuring manner to one of entreaty, she says, softly, "Go, because I ask you.",

"Yes, very glad," returns he, hardly knowing what he says. He has gone back again to his first thoughts,—his mother's boudoir, with its old china, and its choice water-colors that line the walls, and its delicate Italian statuettes. In his own home—which is situated about fourteen miles from the Towers, and which is rather out of repair through years of disuse—there are many rooms. He is busy now trying to remember them, and to decide which of them would look best decked out in crimson and gray, or blue and silver: he hardly knows which would suit her best. Perhaps, after all——,

"Just now," returns she, with some hesitation, and a rich accession of coloring, that renders her even prettier than she was a moment since. Because

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"Sure Miss Mona can," says Biddy, turning to her young mistress, and standing in the doorway in her favorite position,—that is, with her bare arms akimbo, and her head to one side like a magpie. "She's raal clever at dhressin' an' doctherin' an' that.",

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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.