"That liqueur, my dear lord," replied Mr. Græme, "is good old cowslip mead, with a flask of Maraschino di Zara infused in it. For the rest, the dinner has been almost as imaginaire as the omelet. The greater part of the recipes are in an old English volume in my library, or perhaps some owe their origin to the fertile invention of my housekeeper. Let us style them à la Dorothée." "Capital! I thank you, Græme!" said his Grace of Gatten, as he shook his host by the hand, till the tears stood in his eyes. The prescient Chambéry had made a good dinner, and bore the joke philosophically. Coffee awaited the gentlemen in a small octagonal chamber, adjoining the music room. There stood Mr. Græme's three favourite modern statues:--a Venus, by Canova--a Discobole, by Thorwaldson--and a late acquisition--the Ariadne, of Dannecker. "This is the work of an artist," said Mr. Græme, "little known in this country, but in Germany ranking quite as high as Thorwaldson. This is almost a duplicate of his Ariadne at Frankfort, but the marble is much more pure. How wonderfully fine the execution! Pray notice the bold profile of the face; how energetic her action as she sits on the panther!" Mr. Græme touched the spring of a window frame. A curtain of crimson gauze fell over a globe lamp, and threw a rich shade on the marble. The features remained as finely chiselled, but their expression was totally changed. They adjourned to the music-room, which deserved its title. Save some seats, which were artfully formed to resemble lyres, nothing broke the continuity of music's tones, which ascended majestically to the lofty dome, there to blend and wreath, and fall again. At one extremity of music's hall was an organ; at the other a grand piano, built by a German composer. Ranged on carved slabs, at intermediate distances, was placed almost every instrument that may claim a votary. Of viols, from the violin to the double bass,--of instruments of brass, from trombones and bass kettledrums even unto trumpet and cymbal,--of instruments of wood, from winding serpents to octave flute,--and of fiddles of parchment, from the grosse caisse to the tambourine. Nor were ancient instruments wanting. These were of quaint forms and diverse constructions. Mr. Græme would descant for hours on an antique species of spinnet, which he procured from the East, and which he vehemently averred, was the veritable dulcimer. He would display with great gusto, his specimens of harps of Israel; whose deep-toned chorus, had perchance thrilled through the breast of more than one of Judea's dark-haired daughters. Greece, too, had her representatives, to remind the spectators that there had been an Orpheus. There were flutes of the Doric and of the Phrygian mode, and--let us forget not--the Tyrrhenian trumpet, with its brazen-cleft pavilion. But by far the greater part of his musical relics he had acquired during his stay in Italy. He could show the litui with their carved clarions--the twisted