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but Charlotte would assuage him with some peculiar triumph of her culinary art and all again would be smooth for awhile.

      Madeline affected all manner of rich and quaint devices in the garniture of her room, her person, and her feminine belongings. In nothing was this more apparent than in the visiting card which she had prepared for her use. For such an article one would say that she, in her present state, could have but small need, seeing how improbable it was that she should make a morning call: but not such was her own opinion. Her card was surrounded by a deep border of gilding; on this she had imprinted, in three lines

      La Signora Madeline

       Vesey Neroni.

       —Nata Stanhope.

      And over the name she had a bright gilt coronet, which certainly looked very magnificent. How she had come to concoct such a name for herself it would be difficult to explain. Her father had been christened Vesey as another man is christened Thomas, and she had no more right to assume it than would have the daughter of a Mr. Josiah Jones to call herself Mrs. Josiah Smith, on marrying a man of the latter name. The gold coronet was equally out of place, and perhaps inserted with even less excuse. Paulo Neroni had had not the faintest title to call himself a scion of even Italian nobility. Had the pair met in England Neroni would probably have been a count, but they had met in Italy, and any such pretence on his part would have been simply ridiculous. A coronet, however, was a pretty ornament, and if it could solace a poor cripple to have such on her card, who would begrudge it to her?

      Of her husband, or of his individual family, she never spoke, but with her admirers she would often allude in a mysterious way to her married life and isolated state, and, pointing to her daughter, would call her the last of the blood of the emperors, thus referring Neroni’s extraction to the old Roman family from which the worst of the Caesars sprang.

      The “signora” was not without talent and not without a certain sort of industry; she was an indomitable letter-writer, and her letters were worth the postage: they were full of wit, mischief, satire, love, latitudinarian philosophy, free religion, and, sometimes, alas, loose ribaldry. The subject, however, depended entirely on the recipient, and she was prepared to correspond with anyone but moral young ladies or stiff old women. She wrote also a kind of poetry, generally in Italian, and short romances, generally in French. She read much of a desultory sort of literature, and as a modern linguist had really made great proficiency. Such was the lady who had now come to wound the hearts of the men of Barchester.

      Ethelbert Stanhope was in some respects like his younger sister, but he was less inestimable as a man than she as a woman. His great fault was an entire absence of that principle which should have induced him, as the son of a man without fortune, to earn his own bread. Many attempts had been made to get him to do so, but these had all been frustrated, not so much by idleness on his part as by a disinclination to exert himself in any way not to his taste. He had been educated at Eton and had been intended for the Church, but he had left Cambridge in disgust after a single term, and notified to his father his intention to study for the bar. Preparatory to that, he thought it well that he should attend a German university, and consequently went to Leipzig. There he remained two years and brought away a knowledge of German and a taste for the fine arts. He still, however, intended himself for the bar, took chambers, engaged himself to sit at the feet of a learned pundit, and spent a season in London. He there found that all his aptitudes inclined him to the life of an artist, and he determined to live by painting. With this object he returned to Milan, and had himself rigged out for Rome. As a painter he might have earned his bread, for he wanted only diligence to excel, but when at Rome his mind was carried away by other things: he soon wrote home for money, saying that he had been converted to the Mother Church, that he was already an acolyte of the Jesuits, and that he was about to start with others to Palestine on a mission for converting Jews. He did go to Judea, but being unable to convert the Jews, was converted by them. He again wrote home, to say that Moses was the only giver of perfect laws to the world, that the coming of the true Messiah was at hand, that great things were doing in Palestine, and that he had met one of the family of Sidonia, a most remarkable man, who was now on his way to western Europe, and whom he had induced to deviate from his route with the object of calling at the Stanhope villa. Ethelbert then expressed his hope that his mother and sisters would listen to this wonderful prophet. His father he knew could not do so from pecuniary considerations. This Sidonia, however, did not take so strong a fancy to him as another of that family once did to a young English nobleman. At least he provided him with no heaps of gold as large as lions, so that the Judaized Ethelbert was again obliged to draw on the revenues of the Christian Church.

      It is needless to tell how the father swore that he would send no more money and receive no Jew, nor how Charlotte declared that Ethelbert could not be left penniless in Jerusalem, and how “La Signora Neroni” resolved to have Sidonia at her feet. The money was sent, and the Jew did come. The Jew did come, but he was not at all to the taste of “La Signora.” He was a dirty little old man, and though he had provided no golden lions, he had, it seems, relieved young Stanhope’s necessities. He positively refused to leave the villa till he had got a bill from the doctor on his London bankers.

      Ethelbert did not long remain a Jew. He soon reappeared at the villa without prejudices on the subject of his religion, and with a firm resolve to achieve fame and fortune as a sculptor. He brought with him some models which he had originated at Rome and which really gave such fair promise that his father was induced to go to further expense in furthering these views. Ethelbert opened an establishment, or rather took lodgings and a workshop, at Carrara, and there spoilt much marble and made some few pretty images. Since that period, now four years ago, he had alternated between Carrara and the villa, but his sojourns at the workshop became shorter and shorter and those at the villa longer and longer. ‘Twas no wonder, for Carrara is not a spot in which an Englishman would like to dwell.

      When the family started for England, he had resolved not to be left behind, and, with the assistance of his elder sister, had carried his point against his father’s wishes. It was necessary, he said, that he should come to England for orders. How otherwise was he to bring his profession to account?

      In personal appearance Ethelbert Stanhope was the most singular of beings. He was certainly very handsome. He had his sister Madeline’s eyes, without their stare and without their hard, cunning, cruel firmness. They were also very much lighter, and of so light and clear a blue as to make his face remarkable, if nothing else did so. On entering a room with him, Ethelbert’s blue eyes would be the first thing you would see, and on leaving it almost the last you would forget. His light hair was very long and silky, coming down over his coat. His beard had been prepared in holy land, and was patriarchal. He never shaved and rarely trimmed it. It was glossy, soft, clean, and altogether not unprepossessing. It was such that ladies might desire to reel it off and work it into their patterns in lieu of floss silk. His complexion was fair and almost pink; he was small in height and slender in limb, but well-made; and his voice was of peculiar sweetness.

      In manner and dress he was equally remarkable. He had none of the mauvaise honte of an Englishman. He required no introduction to make himself agreeable to any person. He habitually addressed strangers, ladies as well as men, without any such formality, and in doing so never seemed to meet with rebuke. His costume cannot be described because it was so various, but it was always totally opposed in every principle of colour and construction to the dress of those with whom he for the time consorted.

      He was habitually addicted to making love to ladies, and did so without any scruples of conscience, or any idea that such a practice was amiss. He had no heart to touch himself, and was literally unaware that humanity was subject to such an infliction. He had not thought much about it, but, had he been asked, would have said that illtreating a lady’s heart meant injuring her promotion in the world. His principles therefore forbade him to pay attention to a girl if he thought any man was present whom it might suit her to marry. In this manner his good nature frequently interfered with his amusement, but he had no other motive in abstaining from the fullest declarations of love to every girl that pleased his eye.

      Bertie Stanhope, as he was generally called, was, however, popular with both sexes—and with Italians as well as English. His circle of acquaintance was very large and embraced people

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