Apart from the great flood-tide of pleasure, down which so many float buoyantly, there is ever on these occasions a deeper current that flows beneath, of human wile and cunning and strategy, just as, in many a German fairy tale, some curious and recondite philosophy lies hid beneath the little incidents related to amuse childhood. It would lead us too far from the path of our story were we to seek for this “tiny thread amid the woof;” enough for our present purpose if we slightly advert to it, by asking our reader to accompany us to the small chamber which called Albert Jekyl master, and where now, at midnight, a little table of three covers was laid for supper. Three flasks of champagne stood in a little ice-pail in one corner, and on a dumbwaiter was arranged a dessert, which, for the season, displayed every charm of rarity. A large bouquet of moss-roses and camellias ornamented the centre of the board, and shed a pleasant odor through the room. The servant, whose dress and look bespoke him a waiter from a restaurant in the neighborhood, had just completed all the arrangements of the table, placing chairs around it, and heaped fresh wood upon the hearth, when a carriage drew up at the door. The merry sound of voices and the step of feet were heard on the stairs, and the next moment a lady entered, whose dress of black lace, adorned with bouquets of blue flowers, admirably set off a figure and complexion of Spanish mould and character. To this, a black lace veil fastened to the hair behind, and worn across the shoulders, contributed. There was a lightness and intrepidity in her step, as she entered the room, that suited the dark, flashing, steady glance of her full black eyes. It would have, indeed, been difficult to trace in that almost insolent air of conscious beauty the calm, subdued, and almost sorrow-struck girl whom we have seen as Nina in a former chapter; but, however dissimilar in appearance, they were the same one individual; and the humble femme de chambre of Kate Dalton was the celebrated ballet-dancer of the great theatre of Barcelona. The figure which followed was a strange contrast to that light and elegant form. He was an old, short man, of excessive corpulence in body, and whose face was bloated and purple by intemperance. He was dressed in the habit of a priest, and was in reality a canon of the Dome Cathedral. His unwieldy gait, his short and labored respiration, increased almost to suffocation by the ascent of the stairs and his cumbrous dress, seemed doubly absurd beside the flippant lightness of the “Ballarina.” Jekyl came last, mimicking the old canon behind his back, and putting the waiter's gravity to a severe test by the bloated expansion of his cheek and the fin-like motion of his hands as he went. “Ecco me!” cried he out, with a deep grunt, as he sank into a chair and wiped the big drops from his forehead with the skirt of his gown.