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no use to him. They were, he said, divided into two classes—those who came to scoff, and those who came to steal. He did not want either sort.

      The rare music interested but a handful, and the audience that had come from London shivered in remembrance of the east wind which had accompanied their journey. But this little martyrdom did not seem to be entirely without its satisfactions, and conscious of superiority, they settled themselves to listen to the few words of explanation with which Mr. Innes was accustomed to introduce the music that was going to be played. He was speaking, when he was interrupted by the servant-maid, who whispered and gave him a card: "Sir Owen Asher, Bart., 27 Berkeley Square." He left the room hurriedly, and his audience surmised from his manner that something important had happened.

      Sir Owen, seemingly a tall man, certainly above the medium height, was waiting for him in the passage. His thin figure was wrapped tightly in an overcoat, most of his face was concealed in the collar, and the pale gold-coloured moustache showed in contrast to the dark brown fur. The face, wide across the forehead, acquired an accent in the pointed chin and strongly marked jaw. The straight nose was thin and well shaped in the nostrils. "An attractive man of forty" would be the criticism of a woman. Sir Owen's attractiveness concentrated in his sparkling eyes and his manner, which was at once courteous and manly. He told Mr. Innes that he had heard of his concerts that morning at the office of the Wagnerian Review, and Mr. Innes indulged in his habitual dream of a wealthy patron who would help him to realise his musical ambitions. Sir Owen had just bought the periodical, he intended to make it an organ of advanced musical culture, and would like to include a criticism of these concerts. Mr. Innes begged Sir Owen to come into the concert-room. But while taking off his coat, Sir Owen mentioned what he had heard regarding Mr. Innes's desire to revive the vocal masses of the sixteenth century at St. Joseph's, and the interest of this conversation delayed them a little in the passage.

      The baronet's evening clothes were too well cut for those of a poet, a designer of wall paper, or a journalist, and his hands were too white and well cared for at the nails. His hair was pale brown, curling a little at the ends, and carefully brushed and looking as if it had been freshened by some faintest application of perfumed essence. Three pearl studs fastened his shirt front, and his necktie was tied in a butterfly bow. He displayed some of the nonchalant ease which wealth and position create, smiled a little on catching sight of the jersey worn by a lady who had neglected to fasten the back of her bodice, and strove to decipher the impression the faces conveyed to him. He grew aware of that flitting anxiety which is inseparable from the task of finding a daily living, and that pathos which tells of fidelity to idea and abstinence from gross pleasure. A young man, who stood apart, in a carefully studied attitude, a dark lock of hair falling over his forehead, amused him, and the young man in the chair next Sir Owen wore a threadbare coat and clumsy boots, and sat bolt upright. Sir Owen pitied him and imagined him working all day in some obscure employment, finding his life's pleasure once a week in a score by Bach. Catching sight of a priest's profile, a look of contempt appeared on his face.

      He was of his class, he had lived its life and lived it still, in a measure, but from the beginning his ideas and tastes had been superior to those of a merely fashionable man. At five-and-twenty he had purchased a Gainsborough, and at thirty he had spent a large sum of money in exhuming some sonatas of Bach from the dust in which they were lying. At three-and-thirty he had wrecked the career of a fashionable soprano by inspiring her with the belief that she might become a great singer, a great artist; at five-and-thirty Bayreuth and its world of musical culture and ideas had interested him in spite of his unconquerable aversion to long hair and dirty hands. After some association with geniuses he withdrew from the art-world, confessing himself unable to bear the society of those who did not dress for dinner; but while repudiating, he continued to spy the art-world from a distance. An audience is, however, necessary to a 'cello player, and the Turf Club and the Royal Yacht Club contained not a dozen members, he said, who would recognise the Heroica Symphony if they happened to hear it, which was not likely. Lately he had declared openly that he was afraid of entering any of his clubs, lest he should be asked once more what he thought of the Spring Handicaps, and if he intended sailing the Medusa in the Solent this season. Nevertheless, his journey to Bayreuth could not but produce an effect. He had purchased the Wagnerian Review; it had led him to Mr. Innes's concerts, and he was already interested in the prospect of reviving the early music and its instruments. That this new movement should be begun in Dulwich, a suburb he would never have heard of if it had not been for its picture gallery, stimulated his curiosity.

      It is the variation, not the ordinary specimen, that is most typical, for the variation contains the rule in essence, and the deviation elucidates the rule. So in his revolt against the habitual pleasures and ideas of his class, Sir Owen became more explanatory of that class than if he had acquiesced in the usual ignorance of £20,000 a year. To the ordinary eye he was merely the conventional standard of the English upper classes, but more intimate observation revealed the slight glaze of Bohemianism which natural inclination and many adventures in that land had left upon him. He listened without parade, his grey eyes following the music—they, not the head, seeming to nod to it; and when Mr. Innes approached to ask him his opinion, he sprang to his feet to tell him.

      One of the pieces they had heard was a pavane for five viols and a harpsichord, composed by Ferrabosco, son of the Italian musician who had settled in Greenwich at the end of the sixteenth century. Sir Owen was extraordinarily pleased and interested, and declared the pavane to be as complete as a sonata by Bach or Beethoven; but his appreciation was suddenly interrupted by someone looking at him.

      At a little distance, Evelyn stood looking at him. The moment she had seen him she had stopped, and her eyes were delighted as by a vision. Though he represented to her the completely unknown, she seemed to have known him always in her heart; she seemed to have been waiting for knowledge of this unknown, and the rumour of the future grew loud in her ears.

      He raised his eyes and saw a tall, fair girl dressed in pale green. Mr. Innes introduced them.

      "My daughter—Sir Owen Asher."

      In the little while which he took to decide whether he would take tea or coffee, he thought that something could be said for her figure, and he liked her hair, but, on the whole, he did not think he cared for her. She seemed to him an unimportant variety of what he had met before. He said he would take tea, and then he changed his mind and said he would have coffee, but Evelyn came back with a cup of tea, and perceiving her mistake, she laughed abstractedly.

      "You are going to sing two songs, Miss Innes. I'm glad; I hear your voice is wonderful."

      The sound of his voice conveyed a penetrating sense of his presence. It was the same happiness which the very sight of him had awakened in her, and she felt herself yielding to it as to a current. She was borne far away into mists of dream, where she seemed to live a long while. Time seemed to have ceased and the outside world to have fallen behind her. The sensation was the most delicious she had ever experienced. She hardly heard the answers that she made to his questions, and when her father called her, it was like returning after a long absence.

      She sang much more beautifully than he had expected, and during the preludes and fugues and the sonatas by Bach, which finished the programme, he thought of her voice, occasionally questioning himself regarding his taste for her. Even in this short while he had come to like her better. She had beautiful teeth and hair, and he liked her figure, notwithstanding the fact that her shoulders sloped a little—perhaps because they did slope a little. He noticed, whether her eyes wandered or remained fixed, that they returned to him, and that their glance was one of interrogation, as if all depended upon him. When the concert was over he was anxious to speak to her, so that he grew impatient with the people who stopped his way. The back room was filled with musical instruments—there were two harpsichords, a clavichord and an organ, and Mr. Innes insisted on explaining these instruments to him. He seemed to Owen to pay too slight a heed to his daughter's voice. That she played the viola da gamba very well was true enough, but what sense was there in a girl like that playing an instrument? Her voice was her instrument.

      When he was able to get a few words with her, he told her about Madame Savelli. There was no one else, he said, who could teach singing. She must go to France at once, and he seemed to take

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