tablecloth in an untidy dining-room which smells of American leather and fried eggs. It is as if one had discovered the Venus de Milo presiding at a Dorcas Society or Helen of Troy serving crumpets in an A.B.C. shop.

The "Hallelujah Chorus" has just stopped dead at that paralysing hiatus of two bars which immediately precedes the final crash, when the door opens and the Reverend Brian Vereker appears. A glance at his clear-cut aristocratic features goes a long way towards deciding the question of the origin of the good looks of "those Rectory children."

He is a tall man—six feet two,—and although he is barely fifty his hair is specklessly white. He looks more like a great prelate or statesman than a country parson. Perhaps he might have been one or the other, had he been born the eldest son of the eldest son of a peer, instead of the youngest son of the youngest. And again, perhaps not. The lines of his face indicate brain rather than character, and after all it is character that brings us out top in this world. There are furrows about his forehead that tell of much study; but about the corners of his mouth, where promptitude and decision usually set their seal, there is nothing—nothing but a smile of rare sweetness. His gentle blue eyes have the dreamy gaze that marks the saints and poets of this world: the steely glitter of the man of action is lacking. Altogether you would say that Brian Vereker would make a noble figurehead to any high enterprise; but you would add that if that enterprise was to succeed, the figurehead would require a good deal of imported driving-power behind it. And you would be right.

The Rector paused in the doorway and surveyed the lamp-lit room.

..."Halle-lu-u-ja-ah!" vociferated the Albert Hall organ with an air of triumphant finality. Brian Vereker turned to his youngest son with the ready sympathy of one child for another child's games.

"That's right, Tony! That's the stuff! Good old George Frederick! He knew the meaning of the word music—eh?"

"Yes—George Fwederick!" echoed the organist. "And Arthur Seymour, daddy! You've just missed 'The Lost Chord.'"

"Ah," said the Rector in a tone of genuine regret, "that's a pity. But we had the Seventy-Eighth Psalm to-night, and I'm later than usual."

"Quadruple chant?" inquired Tony professionally.

"Rather! But is your recital quite over, boyo?"

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