you will see some day." "I should like to see it," declared Theo eagerly. "I intend you shall, son," put in Dr. Swift. "I mean to give you the chance to see all the finest things in the world, if I have my way." Theo smiled gratefully into his father's face. "When we marvel at the grace and perfection of Greek decoration we must bear in mind that as a spur to their artistic sense the people had beauty constantly before them. Theirs was a country of smiling skies, of blue heaven and golden sunshine; their buildings breathed the very essence of all that is highest in art; even the throngs that filled the streets were picturesque and classic in appearance. For in those days fashions of dress did not change as capriciously as they do now. A beautiful style of costume was adopted and retained, and in consequence artists had ever before them men and women who were excellent models for chaste decoration. In our time such a procedure would be impossible, as the national dress of both our men and women has become utilitarian rather than beautiful, and now has little artistic to recommend it. If we wish classic draperies and faultless styles of hair-dressing we must revert to the past for our models." There was a silence broken only by the snapping of the fire. "To give you some idea how much of this pottery the Greeks turned out I must tell you that at Naples there is a collection of two thousand Greek cups and vases. The Vatican at Rome has one thousand more; Florence has seven hundred; Turin five hundred; Vienna three hundred; Berlin about seventeen hundred; the Louvre at Paris fifteen hundred; and the British Museum nearly twenty-six hundred. Besides these there are some twenty thousand more scattered all over the world in private collections." A whistle of surprise escaped Theo.