The destruction of partridges is, if an equally classical, a less licentious pursuit, for which, I believe, Cambridgeshire offers peculiar facilities. Among these is a particular shooting-box which is a triumph of the familiar, the accidental style and a temple of clear hospitality. The shooting belongs to the autumn, not to this vernal period; but as I have spoken of echoes I suppose that if I had listened attentively I might have heard the ghostly crack of some of the famous shots that have been discharged there. The air, notedly, had vibrated to several august rifles, but all that I happened to hear by listening was some excellent talk. In England, at any rate, as I said just now, a couple of places may be very near together and yet have what the philosophers call a connotation strangely different. Only a few miles beyond Newmarket lies Bury St. Edmunds, a town whose tranquil antiquity turns its broad grey back straight upon the sporting papers. I confess that I went to Bury simply on the strength of its name, which I had often encountered and which had always seemed to me to have a high value for the picture-seeker. I knew that St. Edmund had been an Anglo-Saxon worthy, but my conviction that the little town that bore his name would move me to rapture between trains had nothing definite to rest upon. The event, however, rewarded my faith—rewarded it with the sight of a magnificent old gate-house of the thirteenth century, the most substantial of many relics of the great abbey which once flourished there. There are many others; they are scattered about the old precinct of the abbey, a large portion of which has been converted into a rambling botanic garden, the resort at Whitsuntide of a thousand very modern merry-makers. The monument I speak of has the proportions of a triumphal arch; it is at once a gateway and a fortress; it is covered with beautiful ornament and is altogether the lion of Bury. 1879. [Illustration] [Illustration] AN ENGLISH NEW YEAR