several families), a young man was sitting, one late afternoon in early November. The room was warmed by a fire, in the old fashion; and the young man was gloomily plunging the poker into the coals, breaking them into oily flakes which sent out fierce flickerings as they burned away. He was dressed in a rough shooting suit of blue velveteen, and his heavy American shoes were crusted with mud. His handsome, boyish face wore an expression of deep anxiety; and his hands seemed to minister to the troubles of his meditation by tumbling his hair about the contracted forehead, while his lips closed about a short brier-wood pipe of a kind only used by men. The pipe had gone out, unnoticed by the smoker; and he did not seem to mind the fierce heat thrown out by the broken coals. Above the mantel was the portrait of a gentleman in the quaint costume of the latter Victorian age; the absurd starched collar and shirt, the insignificant cravat, the trousers reaching to the ankles, and the coat and waistcoat of black cloth and fantastic cut, familiar to the readers of the London Punch. This antedated worthy looked out from the canvas upon the room as if he owned it; and the mullioned windows and carved oak wainscoting justified his claim, even to the very books in the bookcases, which showed an antiquarian taste. Here were the strange old-fashioned satires of Thackeray and the more modern romances of the humorist Dickens; the crude speculations of the philosopher Spencer, and the one-sided, aristocratic economies of Malthus and Mill; with the feeble rhymes of Lord Tennyson d'Eyncourt, which men, in a time-serving age, called poetry.
Geoffrey Ripon had come to his last legs. And he was one of the few aristocrats of his generation who had ever
