“There is quite an air about the house,” said Miss Clara, at length. “It is quite different from even Colonel Raymond’s, and Mrs. Raymond’s drawing-room always seemed to us so refined.” “Yes, it was quite different,” said Phœbe, “and I don’t know how it was produced. The piano I saw was just at the same angle from the wall as ours. I am glad we have got that right, Clara.” “I think we have too many little things about,” said Clara; “there must be ten vases on our chimneypiece, if there’s one, and I noticed there was only a clock and two candlesticks on Miss Avesham’s. Yet it looked ever so much more furnished than ours. Let us aim at a greater simplicity, Phœbe.” The two Miss Cliffords lived in what is known as a “highly desirable detached mansion,” and its desirability was much enhanced by its being known as Montrose Villa. It is probable that the owner took his hint from Mrs. Raymond’s happy thought of calling her house “Lammermoor,” but the Miss Cliffords had gone one better, for the last six months they had dated all their letters “Villa Montrose,” and were even thinking of having a die made for their paper and envelopes. “Villa Montrose” sounded much more delightful, and gave, as Miss Clara said, while hanging a reproduction of Carlo Dolci in the front hall, “quite an Italian air to the place.” To the ordinary eye the Villa Montrose was a plain gray house, covered with stucco, but if (as the Miss Cliffords did even when alone) you called stucco, stookko, a perfectly different effect is produced. Similarly, a dwarf fir-tree which stood in the back garden was, rightly considered, a stone-pine, and visions of Tuscan valleys (the Miss Cliffords’ father had once been English chaplain at Florence) rose to the inward eye, with hardly any sense of their being pumped up from a distance. Miss Clara, in fact, got at the kernel of the matter when she said that the atmosphere with which the imagination can invest a place is wholly independent of the materials on which it works. On the ground floor were four rooms, a drawing-room and dining-room looking out over the room, and at the back two small apartments, known as “the libry” and the studio. The walls of the studio were decorated with quite a quantity of oil pictures by the Miss Cliffords’ father, and an unfinished sketch of his stood on an easel. There was a tiger’s-skin rug on the floor, rather moth-eaten, and some low chairs. The only drawback to the room was that, as there was no fire-place, it was too cold to sit in in winter, and in summer, as it was exposed to the southern sun, and had a large sky-light, you might as well, as Miss Phœbe once remarked with a certain acrimony, make your sitting-room of an oven. But in the more temperate rays of April and September nothing could be more delightful than its temperature, and, even when it was untenantable, there was a pleasure in referring to “the studio.”