the seal of violet wax. It bore the imprint of an antique intaglio, representing a satyr raising the veil of a nymph who was asleep at the foot of a pillar, under a laurel-tree. During the best Roman period the subject was a favourite one with painters and with engravers of precious stones. This representation appeared to me excellent. The purity of the style, the perfect feeling for form, the harmonious grouping, converted this scene no longer than one's finger-nail, into a composition vast and imposing.
I was under the spell when my friend appeared through the half-open door.
"Come, let's be off," he said.
He had his hat on and seemed to be in a hurry to go out.
I congratulated him on his seal.
"I was not aware that you possessed this beautiful gem."
He replied that he had not had it long, only about six weeks. It was a find. He took it from the finger on which he wore it set in a ring, and put it in my hand.
It is well known that stones engraved in this fine classic style are generally cornelians. I was somewhat surprised therefore to see a dull gem, of a dark violet.
