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Perhaps Longfellow has more cleverly—and certainly more tenderly—than any other poet described the earlier approaches of the god of Love, when he says,— There is a sparkle in Mona's eyes, a slight severing of her lips, that bespeak satisfaction and betray her full of very innocent appreciation of her own beauty. She stands well back, with her head held proudly up, and with her hands lightly clasped before her. Her attitude is full of unstudied grace. CHAPTER XXVI..

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The morning wanes, and luncheon declares itself. When it has come to an end, Mona going slowly up the stairs to her own room is met there by one of the maids,—not her own,—who hands her a sealed note. A strange scene presents itself to their expectant gaze. Before them is a large room (if so it can be called), possessed of no flooring but the bare brown earth that Mother Nature has supplied. To their right is a huge fireplace, where, upon the hearthstone, turf lies burning dimly, emitting the strong aromatic perfume that belongs to it. Near it crouches an old woman with her blue-checked apron thrown above her head, who rocks herself to and fro in silent grief, and with every long-drawn breath—that seems to break from her breast like a stormy wave upon a desert shore—brings her old withered palms together with a gesture indicative of despair. "I always said you were clever," says his mother, languidly; "now I believe it. I don't think if I lived forever I should be able to pronounce such a sad word as that. Do—do the natives speak like that?" "To Rome," says Mona. "But do you mean it? Can you afford it? Italy seems so far away." Then, after a thoughtful silence, "Mr. Rodney——".