and Berlin wool. But from these confessions I hope no one will be so ungenerous as to fancy that my prediction for marble is to be accounted for only because of the chances of buying it cheaply. While I admit that I prefer buying a beautiful thing for a tenth of its value, I would certainly refuse to have anything to do with an ugly thing if it were offered to me for nothing. But the beauty of marble is unassailable. It has been recognised in every quarter of the world for thousands of years. The only question upon which opinion is divided is in regard to its suitability to the English climate. In this connection I beg leave to record my experience. I take it for granted that when I allude to marble, it will not be supposed that I include that soft gypsum--sulphate of lime--which masquerades under the name of alabaster, and is carved with the tools of a woodcarver, supplemented by a drill and a file, in many forms by Italian craftsmen. This material will last in the open air very little longer than the plaster of Paris, by which its numerous component parts are held together. It is worth nothing. True alabaster is quite a different substance. It is carbonate of lime and disintegrates very slowly. The tomb of Machiavelli in the Santa Croce in Florence is of the true alabaster, as are all the fifteenth and sixteenth century sarcophagi in the same quarter of the church; but none can be said to have suffered materially. It was widely used in memorial tablets three hundred or four hundred years ago. Shakespeare makes Othello refer to the sleeping Desdemona,-- “That whiter skin of hers than snow, And smooth as monumental alabaster.” We know that it was the musical word “alabaster” that found favour with Shakespeare, just as it was, according to Miss Ethel Smyth, Mus. Doc., the musical word “Tipperary,” that helped to make a song containing that word a favourite with Shakespeare's countrymen, who have never been found lacking in appreciation of a musical word or a rag-time inanity. CHAPTER THE EIGHTEENTH