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"Take me down," says Mona, wearily, turning to her lover, as the last faint ring of the horse's feet dies out on the breeze. It is a supreme moment. A deadly silence falls upon the room, and then Dorothy bursts into tears. In my heart I believe she feels as much relief at Mona's exculpation as at the discovery of the desired deed. But when they have turned a corner and are quite out of sight and hearing, Rodney stops short and says, hurriedly,—.

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"Shall we set out now?" says Mona; and she calls "Mickey, Mickey," at the top of her strong young lungs. "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. Geoffrey coming to the farm somewhat early in the evening, Mona takes him round to the yard, where two dogs, hitherto unseen by Geoffrey, lie chained. They are two splendid bloodhounds, that, as she approaches, rise to their feet, and, lifting their massive heads, throw out into the night-air a deep hollow bay that bespeaks welcome. "Are you?" she says, at length, after a long silence..