sit looking on." The archdeacon, who was a practical man, allowed
himself the use of everyday expressive modes of speech when among his
closest intimates, though no one could soar into a more intricate
labyrinth of refined phraseology when the church was the subject, and
his lower brethren were his auditors.

The warden still looked mutely in his face, making the slightest
possible passes with an imaginary fiddle bow, and stopping, as he
did so, sundry imaginary strings with the fingers of his other hand.
'Twas his constant consolation in conversational troubles. While
these vexed him sorely, the passes would be short and slow, and the
upper hand would not be seen to work; nay, the strings on which it
operated would sometimes lie concealed in the musician's pocket, and
the instrument on which he played would be beneath his chair;--but as
his spirit warmed to the subject,--as his trusting heart looking to
the bottom of that which vexed him, would see its clear way out,--he
would rise to a higher melody, sweep the unseen strings with a bolder
hand, and swiftly fingering the cords from his neck, down along his
waistcoat, and up again to his very ear, create an ecstatic strain of
perfect music, audible to himself and to St Cecilia, and not without
effect.

"I quite agree with Cox and Cummins," continued the archdeacon.
"They say we must secure Sir Abraham Haphazard. I shall not have
the slightest fear in leaving the case in Sir Abraham's hands."

The warden played the slowest and saddest of tunes. It was but a
dirge on one string.

"I think Sir Abraham will not be long in letting Master Bold know what