lover of Italian opera. There was hardly an air of Bellini's or Donizetti's that he did not know by heart. As No. 27 came slowly towards him, something in her manner of walking, coupled with the half-abstracted, half-fixed expression in her beautiful grey eyes, reminded him of Amina in the Sonnambula. So strong, indeed, was the impression, that he would hardly have been surprised to see No. 27 take off her unbecoming prison cap and jacket, and disclose two round white arms to match her face, or to hear her sing 'Ah! non giunge' in soft dreamy tones. He could have hummed or whistled a tuneful second himself at a moment's notice, for the matter of that. However, save in the market scene in Martha, there is no precedent for warbling a duet with the young person you are about to engage as a domestic servant. Mr. Paton remembered this in time, and confined himself to what the French call le stricte nécessaire. He inquired of Amelia whether she could do fine sewing, and whether she could clear-starch. His sister had impressed these questions upon him, and he was pleased with himself for remembering them.
Amelia, or Amina (she was really very like Amina), did not reply at once. She had to bring her mind back from the far--away sphere to which it had wandered, or, in other words, to pull herself together first. When the reply did come, it was uttered in just the low, melodious tones one might have expected. She expressed her willingness to attempt whatever was required of her, but seemed very diffident as regarded
