Thorwaldson--and a late acquisition--the Ariadne, of Dannecker.

"This is the work of an artist," said Mr. Graeme, "little known in
this country, but in Germany ranking quite as high as Thorwaldson.
This is almost a duplicate of his Ariadne at Frankfort, but the
marble is much more pure. How wonderfully fine the execution! Pray
notice the bold profile of the face; how energetic her action as she
sits on the panther!"

Mr. Graeme touched the spring of a window frame. A curtain of crimson
gauze fell over a globe lamp, and threw a rich shade on the marble.
The features remained as finely chiselled, but their expression was
totally changed.

They adjourned to the music-room, which deserved its title. Save some
seats, which were artfully formed to resemble lyres, nothing broke the
continuity of music's tones, which ascended majestically to the lofty
dome, there to blend and wreath, and fall again. At one extremity of
music's hall was an organ; at the other a grand piano, built by a German
composer. Ranged on carved slabs, at intermediate distances, was placed
almost every instrument that may claim a votary. Of viols, from the violin
to the double bass,--of instruments of brass, from trombones and bass
kettledrums even unto trumpet and cymbal,--of instruments of wood, from
winding serpents to octave flute,--and of fiddles of parchment, from the
grosse caisse to the tambourine. Nor were ancient instruments wanting.
These were of quaint forms and diverse constructions. Mr. Graeme would
descant for hours on an antique species of spinnet, which he procured from
the East, and which he vehemently averred, was the veritable dulcimer. He
would display with great gusto, his specimens of harps of Israel; whose
deep-toned chorus, had perchance thrilled through the breast of more than