credulous—would believe anything on earth anyone told her, because, although she had plenty of humor, she herself never would deviate from the absolute truth a moment, even in jest. I do not think she would have told an untruth to save her life. Well, of course we used to play on her to tease her. Frank would tell her the most unbelievable and impossible lies: such as that he thought he saw a mouse yesterday on the back of the sofa she was lying on (this would make her bounce up like a ball), or that he believed he heard—he was not sure—that Mr. Scroggs (the man who had rented her old home) had cut down all the old trees in the yard, and pulled down the house because he wanted the bricks to make brick ovens. This would worry her excessively (she loved every brick in the old house, and often said she would rather live in the kitchen there than in a palace anywhere else), and she would get into such a state of depression that Frank would finally have to tell her that he was just “fooling her”.     

       She used to make him do a good deal of waiting on her in return, and he was the one she used to get to dress old Fashion’s back when it was raw, and to put drops in her eyes. He got quite expert at it. She said it was a penalty for his worrying her so.     

       She was the great musician of the connection. This is in itself no mean praise; for it was the fashion for every musical gift among the girls to be cultivated, and every girl played or sang more or less, some of them very well. But Cousin Fanny was not only this. She had a way of playing that used to make the old piano sound different from itself; and her voice was almost the sweetest I ever heard except one or two on the stage. It was particularly sweet in the evenings, when she sat down at the piano and played. She would not always do it; she either felt “not in the mood”, or       “not sympathetic”, or some such thing. None of the others were that way; the rest could play just as well in the glare of day as in the twilight, and before one person as another; it was, we all knew, just one of Cousin Fanny’s old-maid crotchets. When she sat down at the piano and played, her fussiness was all forgotten; her first notes used to be recognized through the house, and people used to stop what they were doing, and come in. Even the children would leave off playing, and come straggling in, tiptoeing as they crossed the floor. Some of the other performers used to play a great deal louder, but we never tiptoed when they 

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