Herbert Karne brought her to town, and stayed for a few days in order to go with her to the entrance examination at the Academy. The principal was delighted with her voice, and arranged for her to go to M. Emil Lambert, the eminent professor of singing. She was also to be taught elocution, pianoforte, harmony, and counterpoint, and was to attend the various classes and lectures in connection with the Academy curriculum. Herbert was glad that her time would be so fully occupied, for she would have no opportunity for feeling the pain of separation. “You will be a musician to your finger tips by the time you have finished studying,” he said, as they came away. Mrs. Friedberg gave Celia a sitting-room at the top of the house, where she could practise without the least fear of being disturbed. It was light and cheerful, and looked out upon the front of the road. Celia liked to sit by the window and watch the omnibuses pass; and she would speculate as to where all the passengers were going. The life and movement in the streets quite fascinated her: it was so entirely different from the quiet seclusion of the Towers. When Herbert had gone, and her first attack of homesickness had been overcome, the girl amused herself by unpacking and arranging some of the little treasures she had brought from Durlston. The room looked more homelike when her cuckoo-clock was on the mantelpiece, and her own little knick-knacks were arranged on the sideboard. Then there were her numerous books and music, which, with their familiar bindings, greeted her like old friends as she sorted and put them in their places. The piano had been placed against the wall, but Celia had it moved into the centre of the room; and draped the back of it with stiff ivory silk, on the centre of which was a beautiful representation of St. Cecilia at the organ, the handiwork of her brother. The appearance of the room was quite transformed by the time she had finished, and she called Lottie Friedberg up to see the changes she had made. A large painting of Herbert Karne, done by himself, rested on an easel of carved oak, and close by was a panel portrait, in the Rembrandt style, of Lady Marjorie Stonor in evening dress. Celia had instinctively placed these two in close proximity to each other, though she did not know why she had done so. There were other pictures and paintings in evidence as well, and Lottie examined them all with keen interest. “That’s rather a nice-looking fellow,” she observed, pausing before a cabinet photograph in a silver frame; “he looks like an actor, and his eyes are just a wee bit like George Alexander’s, don’t you think so?” Celia smiled. “I don’t know Mr. Alexander, so I can’t say,” she returned. “But this gentleman does not belong to the dramatic profession. He is a doctor--a great friend of my brother’s.”