The Doctor took the note with another bow, and, opening the glass door, invited Frank to enter. The young gentleman, with a schoolboy's usual bluntness, was about to say that he was in a hurry, and had rather not; but Dr Riccabocca's grand manner awed him, while a glimpse of the hall excited his curiosity--so he silently obeyed the invitation. The hall, which was of an octagon shape, had been originally panelled off into compartments, and in these the Italian had painted landscapes, rich with the warm sunny light of his native climate. Frank was no judge of the art displayed; but he was greatly struck with the scenes depicted: they were all views of some lake, real or imaginary--in all, dark-blue shining waters reflected dark-blue placid skies. In one, a flight of steps descended to the lake, and a gay group was seen feasting on the margin: in another, sunset threw its rose-hues over a vast villa or palace, backed by Alpine hills, and flanked by long arcades of vines, while pleasure-boats skimmed over the waves below. In short, throughout all the eight compartments, the scene, though it differed in details, preserved the same general character, as if illustrating some favourite locality. The Italian did not, however, evince any desire to do the honours to his own art, but, preceding Frank across the hall, opened the door of his usual sitting-room, and requested him to enter. Frank did so, rather reluctantly, and seated himself with unwonted bashfulness on the edge of a chair. But here new specimens of the Doctor's handicraft soon riveted attention. The room had been originally papered; but Riccabocca had stretched canvass over the walls, and painted thereon sundry satirical devices, each separated from the other by scroll-works of fantastic arabesques. Here a Cupid was trundling a wheelbarrow full of hearts, which he appeared to be selling to an ugly old fellow, with a money-bag in his hand--probably Plutus. There Diogenes might be seen walking through a market-place, with his lantern in his hand, in search of an honest man, whilst the children jeered at him, and the curs snapped at his heels. In another place, a lion was seen half dressed in a fox's hide, while a wolf in a sheep's mask was conversing very amicably with a young lamb. Here again might be seen the geese stretching out their necks from the Roman Capitol in full cackle, while the stout invaders were beheld in the distance, running off as hard as they could. In short, in all these quaint entablatures some pithy sarcasm was symbolically conveyed; only over the mantelpiece was the design graver and more touching. It was the figure of a man in a pilgrim's garb, chained to the earth by small but innumerable ligaments, while a phantom likeness of himself, his shadow, was seen hastening down what seemed an interminable vista; and underneath were written the pathetic words of Horace-- "Patriæ quis exul Se quoque fugit?."