So ended this little episode with the violinist. Not that she did not visit and sit with him as much as before; the very next day, when she returned, rather shyly, upstairs, she found him sitting in the old place, with the old nod and smile to welcome her, but somehow he managed to put things on a different footing--he spared her his long metaphysical discourses, and talked to her more as the child that she was, laughing, joking, and telling her queer hobgoblin and fairy stories, some of which she knew before indeed, but which he related with a quaint simplicity and naivete, which gave them a fresh charm for her; and under this new aspect of things, she brightened up, began to lose her fits of dreaminess, to chatter as in old times, and cheered many an hour of the musician's solitary life. The American artist, too, left Florence about this time for a visit to Rome; and during his absence the _atelier_ was closed, and wandering through churches and picture galleries were exchanged for long excursions into the country with her father; by degrees dreams, fancies, visions floated away, and Madelon became herself again. She had gone through a phase, and one not altogether natural to her, and which readily passed away with the abnormal conditions that had occasioned it. She was by no means one of those dreamy, thoughtful, often melancholy children who startle us by the precocious grasp of their intellect, by their intuitive perception of truths which we had deemed far above their comprehension. Madelon's precocity was of quite another order. In her quick, impulsive, energetic little mind there was much that was sensitive and excitable, little that was morbid or unhealthy. One might see that, with her, action would always willingly take the place of reflection; that her impulses would have the strength of inspirations; that she would be more ready to receive impressions than to reason upon them. Meditation, comparison, introspection, were wholly foreign to this little, eager, impetuous nature, however they might be forced upon it in the course of years and events; and with her keen sense of enjoyment in all glad outward influences, one might have feared that the realities of life present to her would too readily preclude any contemplation of its hidden possibilities, but for a lively, susceptible imagination, which would surely intervene to prevent any such tendency being carried out to its too prosaic end. It was through appeals to her imagination and affection, rather than to her reason and intellect, that Madeleine could be influenced; and whatever large sympathies with humanity she might acquire through life, whatever aspirations after a high and noble ideal, whatever gleams of inspiration from the great beyond that lies below the widest, as well as the narrowest horizon, might visit her--all these would come to her, we may fancy, through the exercise of pure instincts and a sensitive imagination, rather than through the power of logical