The christening of the “young heathen” took place in due time. The ceremony is well described, and the style eminently characteristic, for it is light, airy, graceful, and considerably profane. Then comes a pause, extending, as it would appear, over some years—and after that a graphic account of the lumbering of a post-coach, “on the evening of a dreary winter’s day, up the ill-paved hill of an old street in the oldest part of Dublin, called Fish Shambles Street.” Where the coach came from we are not told, but it conveyed Mrs Owenson and her two daughters (for by this time Olivia likewise had been born, and both she and Sydney were able to take their share in conversation) to the new home which Mr Owenson had prepared for them. And here comes another mystery. The house is evidently a ruin—but why a ruin, and how, if ever, repaired, we never learn. It is enough for us to know that Mr Owenson, in breach of his engagement with Mr Daley of Castle Daley, had taken the National Theatre Music Hall, and that it was opened with the representation of three pieces,—“‘The Carmelite,’ ‘The Brave Irishman,’ and ‘The Poor Soldier.’ A medley of Irish airs made up the overture, which ended with the Volunteers’ March, and my father wrote and spoke the prologue in his own character of an Irish Volunteer.” Now, if we recollect aright, the Irish Volunteers were in their glory about 1782, and as we learn that Miss Sydney, when the “post-coach” set down its burden, had held an interesting conversation with her mother about Handel, it appears to us that on this eventful night she could not have been less than six years old at the least.