poet, Richard Alardyce, and suffered a little shock which would have led him, had he been wearing a hat, to remove it. The eyes looked at him out of the mellow pinks and yellows of the paint with divine friendliness, which embraced him, and passed on to contemplate the entire world. The paint had so faded that very little but the beautiful large eyes were left, dark in the surrounding dimness.
Katharine waited as though for him to receive a full impression, and then she said:
“This is his writing–table. He used this pen,” and she lifted a quill pen and laid it down again. The writing–table was splashed with old ink, and the pen disheveled in service. There lay the gigantic gold–rimmed spectacles, ready to his hand, and beneath the table was a pair of large, worn slippers, one of which Katharine picked up, remarking:
“I think my grandfather must have been at least twice as large as any one is nowadays. This,” she went on, as if she knew what she had to say by heart, “is the original manuscript of the ‘Ode to Winter.’ The early poems are far less corrected than the later. Would you like to look at it?”
While Mr. Denham examined the manuscript, she glanced up at her grandfather, and, for the thousandth time, fell into a pleasant dreamy state in which she seemed to be the companion of those giant men, of their own lineage, at any rate, and the insignificant present moment was put to shame. That magnificent ghostly head on the canvas, surely, never beheld all the trivialities of a Sunday afternoon, and it did not seem to matter what she and this young man said to each other, for they were only small people.
“This is a copy of the first edition of the poems,” she continued, without considering the fact that Mr. Denham was still occupied with the manuscript, “which contains
