out it, and I should be delighted if Lucy wishes it.' Then I put in at the top, 'and I have told Lucy so.' I must write the letter out again--'and I have told Lucy so. But Lucy seems very uncertain, and in these days young people must decide for themselves.' I said that because I didn't want Mrs. Vyse to think us old-fashioned. She goes in for lectures and improving her mind, and all the time a thick layer of flue under the beds, and the maid's dirty thumb-marks where you turn on the electric light. She keeps that flat abominably--"

"Suppose Lucy marries Cecil, would she live in a flat, or in the country?"

"Don't interrupt so foolishly. Where was I? Oh yes--'Young people must decide for themselves. I know that Lucy likes your son, because she tells me everything, and she wrote to me from Rome when he asked her first.' No, I'll cross that last bit out--it looks patronizing. I'll stop at 'because she tells me everything.' Or shall I cross that out, too?"

"Cross it out, too," said Freddy.

Mrs. Honeychurch left it in.

"Then the whole thing runs: 'Dear Mrs. Vyse.--Cecil has just asked my permission about it, and I should be delighted if Lucy wishes it, and I have told Lucy so. But Lucy seems very uncertain, and in these days young people must decide for themselves. I know that Lucy likes your son, because she tells me everything. But I do not know--'"

"Look out!" cried Freddy.

The curtains parted.

Cecil's first movement was one of irritation. He couldn't bear the Honeychurch habit of sitting in the dark to save the furniture. Instinctively he give the curtains a twitch, and sent them swinging down their poles. Light entered. There was revealed a terrace, such as is owned by many villas with trees each side of it, and on it a little rustic seat, and two flower-beds. But it was transfigured by the view beyond, for Windy Corner was built on the range that overlooks the Sussex Weald. Lucy, who was in the little seat, seemed on the edge of a green magic carpet which hovered in the air above the tremulous world.

Cecil entered.

Appearing thus late in the story, Cecil must be at once described. He was medieval. Like a Gothic statue. Tall and refined, with shoulders that seemed braced square by an effort of the will, and a head that was tilted a little higher than the usual level of vision, he resembled those fastidious saints who guard the portals of a French cathedral. Well educated, well endowed, and not deficient physically, he remained in the grip of a certain devil whom the modern world knows as self-consciousness, and whom the medieval, with dimmer vision, worshipped as asceticism. A Gothic statue implies celibacy, just as a Greek statue implies fruition, and perhaps this was what Mr. Beebe meant. And Freddy, who ignored history and art, perhaps meant the same when he failed to imagine Cecil wearing another fellow's cap.

Mrs. Honeychurch left her letter on the writing table and moved towards her young acquaintance.

"Oh, Cecil!" she exclaimed--"oh, Cecil, do tell me!"

"I promessi sposi," said he.
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They stared at him anxiously.

"She has accepted me," he said, and the sound of the thing in English made him flush and smile with pleasure, and look more human.

"I am so glad," said Mrs. Honeychurch, while Freddy proffered a hand that was yellow with chemicals. They wished that they also knew Italian, for our phrases of approval and of amazement are so connected with little occasions that we fear to use them on great ones. We are obliged to become vaguely poetic, or to take refuge in Scriptural reminiscences.

"Welcome as one of the family!" said Mrs. Honeychurch, waving her hand at the furniture. "This is indeed a joyous day! I feel sure that you will make our dear Lucy happy."

"I hope so," replied the young man, shifting his eyes to the ceiling.

"We mothers--" simpered Mrs. Honeychurch, and then realized that she was affected, sentimental, bombastic--all the things s