lighted by a poor little petroleum lamp. The salottino, in its severe, ecclesiastical simplicity, held nothing of interest, save a canvas by Morone the fine portrait of a man; two small panels with angels' heads, in the style of Luini; and a grand piano, loaded with music. The Abbot, passionately fond of pictures, music, and snuff, dedicated to Mozart and Haydn a great part of the scant leisure he enjoyed after the performance of his duties as priest and ruler. He was intelligent, somewhat eccentric, and possessed of a certain amount of literary, philosophical, and religious learning which, however, stopped short with the year 1850, he having a profound contempt for all learning subsequent to that date. Short and grey-haired, he had a clever face. A certain curtness of manner, and his rough familiarity, had astonished the monks, accustomed to the exquisitely refined manners of his predecessor, a Roman of noble birth. He had come from Parma, and had assumed his duties only three days previously.
Don Clemente knelt before him and kissed his hand.
"You have strange ways here at Subiaco," said the Abbot. "Is ten o'clock the same as eleven o'clock to you?"
Don Clemente apologised. He had been detained by a duty of charity. The Abbot invited him to be seated.
"My son," said he, "are you sleepy?"
