"Too late!'--what meant those words? Lord Rainsforth had turned hastily down another walk, and left me alone, to ponder over an answer which concealed a riddle. Slowly I took my way towards the house and sought Lady Ellinor, half hoping, half dreading to find her alone. There was a little room communicating with a conservatory, where she usually sat in the morning. Thither I took my course. "That room,--I see it still!-- the walls covered with pictures from her own hand, many were sketches of the haunts we had visited together; the simple ornaments, womanly but not effeminate; the very books on the table, that had been made familiar by dear associations. Yes, there the Tasso, in which we had read together the episode of Clorinda; there the Aeschylus in which I translated to her the "Prometheus." Pedantries these might seem to some, pedantries, perhaps, they were; but they were proofs of that congeniality which had knit the man of books to the daughter of the world. That room, it was the home of my heart. "Such, in my vanity of spirit, methought would be the air round a home to come. I looked about me, troubled and confused, and, halting timidly, I saw Ellinor before me, leaning her face on her hand, her cheek more flushed than usual, and tears in her eyes. I approached in silence, and as I drew my chair to the table, my eye fell on a glove on the floor. It was a man's glove. Do you know," said my father, "that once, when I was very young, I saw a Dutch picture called 'The Glove,' and the subject was of murder? There was a weed-grown, marshy pool, a desolate, dismal landscape, that of itself inspired thoughts of ill deeds and terror. And two men, as if walking by chance, came to this pool; the finger of one pointed to a blood-stained glove, and the eyes of both were fixed on each other, as if there were no need of words. That glove told its tale. The picture had long haunted me in my boyhood, but it never gave me so uneasy and fearful a feeling as did that real glove upon the floor. Why? My dear Pisistratus, the theory of forebodings involves one of those questions on which we may ask 'why' forever. More chilled than I had been in speaking to her father, I took heart at last, and spoke to Ellinor." My father stopped short; the moon had risen, and was shining full into the room and on his face. And by that light the face was changed; young emotions had brought back youth,--my father looked a young man. But what pain was there! If the memory alone could raise what, after all, was but the ghost of suffering, what had been its living reality! Involuntarily I seized his hand; my father pressed it convulsively, and said with a deep breath: "It was too late; Trevanion was Lady Ellinor's accepted, plighted, happy lover. My dear Katherine, I do not envy him now; look up, sweet wife, look up!" (1). The anaglyph was peculiar to the Egyptian priests; the hieroglyph generally known to the well educated.