conveniences of what we call a home. Mrs. Mavick used to say that in her
apartments she found refuge in a sublimated domesticity. Mavick's own
quarters--not the study off the library where he received visitors whom
it was necessary to impress--had an executive appearance, and were, in
the necessary appliances, more like the interior bureau of a board of
trade. In fact, the witty brokers who were admitted to its mysteries
called it the bucket-shop.

Mr. Brad's article on "A Prisoned Millionaire" more than equaled Philip's
expectations. No such "story" had appeared in the city press in a long
time. It was what was called, in the language of the period, a work of
art--that is, a sensation, heightened by all the words of color in the
language, applied not only to material things, but to states and
qualities of mind, such as "purple emotions" and "scarlet intrepidity."
It was also exceedingly complimentary. Mavick himself was one of the
powers and pillars of American society, and the girl was an exquisite
exhibition of woodland bloom in the first flush of spring-time. As he
read it over, Philip thought what a fine advertisement it is to every
impecunious noble in Europe.

That morning, before going to his office, Philip strolled up Fifth Avenue
to look at that now doubly, famous mansion. Many others, it appeared,
were moved by the same curiosity. There was already a crowd assembled.
A couple of policemen, on special duty, patrolled the sidewalk in front
in order to keep a passage open, and perhaps to prevent a too impudent
inspection. Opposite the house, on the sidewalk and on door-steps, was a
motley throng, largely made up of toughs and roughs from the East Side,
good-natured spectators who merely wanted to see this splendid prison,
and a moving line of gentlemen and ladies who simply happened to be
passing that way at this time. The curbstone was lined with a score of