played. Cousin Fanny would sit at the piano looking either up or right straight ahead of her, or often with her eyes closed (she never looked at the keys), and the sound used to rise from under her long, thin fingers, sometimes rushing and pouring forth like a deep roar, sometimes ringing out clear like a band of bugles, making the hair move on the head and giving strange tinglings down the back. Then we boys wanted to go forth in the world on fiery, black chargers, like the olden knights, and fight giants and rescue beautiful ladies and poor women. Then again, with her eyes shut, the sound would almost die away, and her fingers would move softly and lingeringly as if they loved the touch of the keys, and hated to leave them; and the sound would come from away far off, and everything would grow quiet and subdued, and the perfume of the roses out of doors would steal in on the air, and the soft breezes would stir the trees, and we were all in love, and wanted to see somebody that we didn’t see. And Cousin Fanny was not herself any longer, but we imagined some one else was there. Sometimes she suddenly began to sing (she sang old songs, English or French); her voice might be weak (it all depended on her whims; SHE said, on her health), in that case she always stopped and left the piano; or it might be “in condition”. When it was, it was as velvety and mellow as a bell far off, and the old ballads and chansons used to fill the twilight. We used even to forget then that she was an old maid. Now and then she sang songs that no one else had ever heard. They were her own; she had composed both the words and the air. At other times she sang the songs of others to her own airs. I remember the first time I ever heard of Tennyson was when, one evening in the twilight, she sang his echo song from “The Princess”. The air was her own, and in the refrain you heard perfectly the notes of the bugle, and the echoes answering, “Dying, dying, dying.” Boy as I was, I was entranced, and she answered my enthusiasm by turning and repeating the poem. I have often thought since how musical her voice was as she repeated     

     Our echoes roll from soul to soul, And grow forever and forever. 

       She had a peculiarly sentimental temperament. As I look back at it all now, she was much given to dwelling upon old-time poems and romances, which we thought very ridiculous in any one, especially in a spinster of forty odd. She would stop and talk about the branch of a tree with the    

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