himself a wedding present. He puts his objection upon the semi-jocose ground that he shall be unable to avoid overhearing the price of her intended gift, and that his modesty could not stand the strain of helping her to haggle over it. Perhaps, however, deep in his heart is an unconscious feeling that to receive nuptial offerings gives an almost greater body and certainty to his on-striding fate than even the buying of dinner-services and saucepans. So they go to the Accademia delle Belli Arti instead, it having occurred to Jim that in a picture-gallery there will be less opportunity for conversation, less opening for interested inquiries on his companion's part as to Amelia and the minutiæ of his future life with her, than there would be in the green walks of the Cascine, or on the slopes of Fiesole.

To Mrs. Byng, who is of almost as enjoying a nature as her son, and whose spirits have been raised to a pitch even higher than their usual one, by the disproof of her presentiments, it is all one where she goes, so that she is taken somewhere, to see something. They stare up at the big young David, and stand before Fra Angelico's ineffably happy Paradiso, which yet brings the tears to the looker's eyes, perhaps out of sheer envy of the little blissful saints dancing and frolicking so gaily, or pacing so softly in the assured joy of the heavenly country. They look at Botticelli's "Spring," fantastic wanton, with her wildly-flowered gown, and her lapful of roses. The room in which she and her joyous mates stand, with their odd smiles, is one of the smaller of the gallery. It is rather a narrow one, and has an open window, giving upon a little court, where, in a neglected garden-close, wallflowers are growing, and sending in their familiar perfume. The sweet Francia saints in the picture hung on the wall directly opposite, and the rapt Madonna, must surely smell them. If they do not, it must be because a young couple, he and she, who are leaning out in their eagerness to enjoy it, have intercepted all the homely fragrance. Jim's eyes are still on the "Spring," and he is thinking half absently how little kinship she has with the goitred green women, whom his nineteenth-century disciples present to the confiding British public as representatives of Sandro Botticelli's manner, when his attention is diverted by hearing the voice of Mrs. Byng at his elbow addressing him in an