Small and contracted as that miserable frontage was, the sun did shine upon it just as pleasantly as on its proud neighbors, and the bright Arno glided by with its laughing ripples; while, from the little window above stairs, the eye ranged over the cypress-clad hill of San Miniato and the fair gardens of the Boboli. On one side lay the quaint old structure of the Ponte Vecchio, with its glittering stores of jewelry, and on the other the graceful elliptic arches of St. Trinita spanned the stream. The quay before the door was the chosen rallying-point of all Florence; the promenade where lounged all its fashionables of an evening, as they descended from their carriages after the accustomed drive in the Cascini. The Guardie Nobili passed daily, in all their scarlet bravery, to and from the Pitti Palace; the Grand Ducal equipage never took any other road. A continual flow of travellers to the great hotels on the quay contributed its share of bustle and animation to the scene; so that here might be said to meet, as in a focus, all that made up the life, the stir, and the movement of the capital. Full of amusement and interest as that morning panorama often is, our object is less to linger beside it, than, having squeezed our way between the chaotic wares of Gigi's shop, to ascend the little, dark, and creaking stairs which lead to the first story, and into which we now beg to introduce our reader. There are but two rooms, each of them of the dimensions of closets, but furnished with a degree of pretension that cannot fail to cause amazement as you enter. Silk draperies, carved cabinets, bronzes, china, chairs of ebony, tables of buhl, a Persian rug on the floor, an alabaster lamp suspended from the ceiling, miniatures in handsome frames, and armor, cover the walls; while, scattered about, are richly bound books, and prints, and drawings in water-color. Through the half-drawn curtain that covers the doorway for there is no door you can peep into the back room, where a lighter and more modern taste prevails; the gold-sprigged curtains of a French bed, and the Bohemian glass that glitters everywhere, bespeaking another era of decorative luxury. It is not with any invidious pleasure for depreciation, but purely in the interests of truth, that we must now tell our reader that, of all this seeming elegance and splendor, nothing absolutely nothing is real. The brocaded silks have been old petticoats; the ebony is lacquer; the ivory is bone; the statuettes are plaster, glazed so as to look like marble; the armor is papier mache, even to the owner himself, all is imposition, for he is no other than Albert Jekyl.