d. The last few weeks of his convalescence had proved to all of us a time of thankful and tranquil enjoyment. If I may judge from my own experience, there are few epochs in

once grateful to our Creator for preserving us, and to our friends for the countle

a valley, as is the case with most houses of that date, was well sheltered from cold winds. It had, moreover, a south aspect, and as my brother gradually gathered strength, Constance and he and I would often sit out of doors in the soft spring mornings. We put an easy-chair with many cushions for him on the gravel by the front door, where the warmth of the sun was reflected from the red brick walls, and he would at times read a

, taken an early opportunity of telling him of my discovery of the picture of Adrian Temple, as I thought it would tend to show him that at least the last appearance of this ghostly form admitted of a rational explanation. He seemed glad to hear of this, but did not exhibit t

en the keenest antipathies, I gradually got to lose much of the feeling of aversion which it had at first inspired. In time the unpleasant look grew less unpleasing, and I noticed more the beautiful oval of the face, the brown eyes, and the fine chiselling of the features. Sometimes, too, I felt a deep pity for

as painters might conventionally use to represent a piece of musical notation. This has generally been the case, I think, in such pictures as I have ever seen in which a piece of music has been introduced. I mean that while the painting gives a general representation of the musical staves, no attempt is ever made to paint any definite

out that the painter had intended to depict some definite piece of music. In another moment I saw that the air represented consisted of the opening bars of the Gagliarda in the suite by Graziani with which my brother and I were so well acquainted. Though I believe that I had not seen the volume of music in which

lar piece of music; but it seemed more probable that it had actually been a favourite air of Adrian Temple, and that he had chosen deliberately to have it represented with him. This discovery I k

turning to Oxford for the summer term, Mrs. Temple making a short visit to Sc

best of spirits, and found his rooms looking cheerful with well-filled flower-boxes in the windows. I shall not detain you with any long narration of the events of the term, as they have no relation to the pre

ion a unique and intact example of Stradivarius's best period. He had had it properly strung; and as the bass-bar had never been moved, and was of a stronger nature than that usual at the period of its manufacture, he had considered it unnecessary to replace it. If any signs should become visible of its being inadequate to support the tension of modern stringing, another could be easily substituted fo

mer intimacy, yet the two young men saw less and less of one another, until their intercourse was confined to an accidental greeting in the street. I believe that during all this time my brother played very frequently on the Stradivarius violin, but always alone. Its very possession seemed to have enge

m it in a volume of such depth and purity as to give an impression of the passages being chorded, or even of another violin being played at the same time. He had had, of course, no opportunity of practising during his illness, and so expected to find his skill with the bow somewhat diminished; but he perceived, on the contrary, that his performance was greatly improved, and that he was playing with a mastery and feeling of which he had never before been conscious. While attributing this

and sultry, as on that eventful evening when just a year ago he had for the first time seen the figure or the illusion of the figure of Adrian Temple. Since that time he had played the "Areopagita" many, many times; but there had never been any reappearance of that form, nor even had the once familiar creaking of the wicker chair ever made itself heard. As he sat alone in his room, thinking with a natural melancholy that he had seen the sun set for the last time on his student life, and reflecting on the possibilities of the future and perhaps on opportunities wasted in the pa

e hurriedly locked away the violin and opened the "oak." It was Mr. Gaskell.

he began, a

ntimacy that formerly justified it has vanished. But sometimes we intentionally revert to the use of such a name, not wishing to proclaim openly, as it were,

r open windows. You were playing the 'Areopagita,' and it all sounded so fam

t all," Jo

ur bow to youth and become men. We have not seen much of each other this term at any rate, and I daresay that is my faul

he feeling of reluctance which I have noticed men always exhibit to discovering any sentiment deeper than those usually deemed conve

had heard. As he at length rose up to take his departure, he said, "You must have practised the violin diligently of late, for I never knew anyone make so rapid progress with it as you have done. As I came along I was spellbound by your music.

he latter continued, "Let me enjoy the pleasure of playing

opened the pianof

Mr. Gaskell, and that if he now produced it an explanation must follow. In a moment his mood changed, and with l

forced conversation took his departure. On leaving he shook my brother by the hand, wished him all prosperity in his marriage and after-life, and sa

ntary motion towards the door as if to call him back, but did not do so,