_The Sunday Sermon_ offered free tickets to a hundred unmarried suburban girls, to which class _Christina's Mistake_ might be supposed to make a special religious appeal. But they had to collect coupons first for _The Sunday Sermon_. And, finally, _The Times_, of two months later, said: "A marriage has been arranged between Lady Dorothy Neal, daughter of the Earl of Skye, and the Hon. Geoffrey Bollinger." . . . . . Than a successful revenge nothing is sweeter in life. Hector Strong was not the man to spare anyone who had done him an injury. Yet I think his method of revenging himself upon Lady Dorothy savoured of the diabolical. He printed a photograph of her in _The Daily Picture Gallery_. It was headed "The Beautiful Lady Dorothy Neal." THE COLLECTOR When Peter Plimsoll, the Glue King, died, his parting advice to his sons to stick to the business was followed only by John, the elder. Adrian, the younger, had a soul above adhesion. He disposed of his share in the concern and settled down to follow the life of a gentleman of taste and culture and (more particularly) patron of the arts. He began in a modest way to collect ink-pots. His range at first was catholic, and it was not until he had acquired a hundred and forty-seven ink-pots of various designs that he decided to make a speciality of historic ones. This decision was hastened by the discovery that one of Queen Elizabeth's inkstands--supposed (by the owner) to be the identical one with whose aid she wrote her last letter to Raleigh--was about to be put on the market. At some expense Adrian obtained an introduction, through a third party, to the owner; at more expense the owner obtained, through the same gentleman, an introduction to Adrian; and in less than a month the great Elizabeth Ink-pot was safely established in Adrian's house. It was the beginning of the "Plimsoll Collection." This was twenty years ago. Let us to-day take a walk through the galleries of Mr. Adrian Plimsoll's charming residence, which, as the world knows, overlooks the park. Any friend of mine is always welcome at Number Fifteen. We will start with the North Gallery; I fear that I shall only have time to point out a few of the choicest gems. This is a Pontesiori sword of the thirteenth century--the only example of the master's art without any notches. On the left is a Capricci comfit-box. If you have never heard of Capricci, you oughtn't to come to a house like this. Here we have before us the historic de Montigny topaz. Ask your little boy to tell you about it. In the East Gallery, of course, the chief treasure is the Santo di Santo amulet, described so minutely in his _Vindiciae Veritatis_ by John of Flanders. The original MS. of this book is in the South Gallery. You must glance at it when we get there. It will save you the trouble of ordering a copy from your library; they would be sure to keep you waiting....