gown, which yet always looked graceful, and the thick twists of golden hair, rolling from beneath the ancient brown straw-hat. That was no unusual sight, and her heart leaped with joy as she beheld it; but the figure with that figure-not Rhoda's slender height, not her audacious, Irishgray eyes and defiantly smiling young face-not a girl at all, but Randulf Danesdale. Surely there was nothing to laugh at, the meeting was a simple one enough; yet on the faces of all three as they met there was a broad, irrepressible smile, which soon became a hearty laugh. Instead of saying anything, the three stood still in the wooded road, and laughed loud and clear-light-hearted laughs. The young people of the present day are generally too learned and careworn, too scientific or æsthetic, to laugh very heartily; but in some country districts there are still left a few rustics who can and do laugh loudly at nothing in particular. It was Judith who first ceased to laugh, and said: "Why are we behaving so absurdly? Surely there is nothing to laugh at !" "Yes, there is," said Delphine, her goldenbrown eyes dancing. "There is Mr. Danesdale to laugh at." "Who is that?" asked Delphine, in surprise. "Our new cousin, Bernard Aglionby," responded Judith, in a sharp, dry tone. At this juncture | Randulf remarked that he would not detain them any longer. He wished them good-afternoon, and took his way back to Yoresett. The girls were left alone. Arm-in-arm they paced about the tiny square court-yard of the equally tiny Friends' Meeting House before alluded to. "Well!" said Delphine, pressing her sister's arm, with a quick excited movement, which the other at once remarked, "wl.at is it? I suppose you would not ask me into that man's house, and quite right too. He looks a stern, hard creature, with his dark face and frowning eyes. How has he treated you?" "Most kindly. His appearance is a little against him, I think. But had he known that I wished to see you, he would have offered to send a carriage for you, I know. I think he has behaved admirably!" Really, Ju! You astonish me! How would you have had him behave? He has got all uncle Aglionby's money and property. The least he could do was to behave with courtesy toward those "Who is too happy to make himself useful in whom he had supplanted.” any way,' ," he murmured. "He hates walking. Coming up this hill he has been so exhausted, that I am glad Sir Gabriel could not see his degenerate son. He came, Judith-Mr. Danesdale presented himself at the Yoresett House, and said you had desired him to give your love, and to say that he was to stay to lunch, and see that I set off at half-past two, as you had no trust at all in my punctuality, I thought it rather odd, but allowed him to remain. And then he said that part of his commission had been to come with me until we met you, as you know my habit of loitering on the wayside. Rhoda said she didn't believe him, and it was an insult. What I want to know is, Did he tell the truth ?" Here the sound of wheels just behind them caused them to turn. Coming down the hill was a dog-cart, which Bernard Aglionby was driving, his man sitting behind him. His piercing eyes glanced from one to the other of the group, till they rested upon Judith. Randulf and Judith returned his salutation. Then the dog-cart flashed past, and disappeared round a bend in the road. "Well, you know, when the will was read, mamma's behavior really was enough to try a saint, let alone a young man with a sharp temper, as he has." "You seem to know all about his temper very quickly." "I've had opportunities, you see." Judith then told her sister all about that most unpleasant scene, and her mother's behavior throughout, and how well, as she thought, Mr. Aglionby had behaved. "You know I did feel inclined to hate him. One does long sometimes to be able to feel one's self an unqualified victim and martyr. And I did then. If I could have sat down, and on surveying my past life and future prospects, could have found that I had been wronged and ill-used all along, the victim of oppression and injustice, I should have been positively glad, because then I could have railed at every one and everything, and refused to be comforted. But you know, Del, it is a fatal fact that there are almost always two sides to a question." "I don't see how there can be another view of "True, my dear. All that is true on the outside. But there is another side to it, and a most | miserable one, for us. If what I think is true, it is not we who have to complain. I can't tell you what I think, until I am more certain on one or two points. Delphine, I have something to tell you that is not pleasant, I believe I am on the brink of a discovery: if I find myself right, I shall tell you of it, and no one else. Our life will then be still less smooth for us than it has been hitherto, but mamma will make no further opposition to our working, if we wish to do so." "You are very mysterious, Judith.” "I know it must sound both odd and unreasonable. Well, if, as I expect, I find myself right (I don't know how I can speak so calmly of it all, I am sure), I shall then explain to you, and I am absolutely certain of your agreeing with me that it will be best, not only for you and me to go away and try to find some work, but for all of us to leave Yoresett-sell our house, go to a town and work-even if the work were plain sewing or lodging-house keeping." "Judith!" exclaimed Delphine, and there was a tone of horror in her voice. indeed repent toward the person whom I have wronged, though Mr. Aglionby holds strange views about repentance. But if I am right, you and I, Del, will be glad to hide our heads anywhere, so long as it is far enough away from Yoresett." Delphine made no answer to this. There was a silence as they paced about under the trees, now thinned of their foliage, while the shriveled, scattered leaves rustled beneath their feet. Scarce a bird chirped. The sun had disappeared; the sky was gray and sad. The inhabitants of the hamlet of Counterside appeared all to be either asleep or not at home. Up and down the little paved court-yard they paced, feeling vaguely that this quiet and peace in which they now stood was not to last forever, that the tiny square Friends' Meeting House, where the silence was disturbed, it might be once a week, perhaps not so often, by a discourse, or a text, or an impromptu prayer from some Friend whom the spirit moved to utterance of his thoughts, that this was not the kind of arena in which their life's battle was to be fought. This was a lull, a momentary pause. Delphine at last broke it by saying: "You say Mr. Aglionby has strange notions about repentance-how do you mean ?" "Oh, it would take too long to explain. We were talking together on Sunday night—we had "You will own that I am not in the habit of supper togethersaying things without good reason?" "Oh, yes!" "Then think about this, dear. It would be painful for many reasons to leave Yoresett." "It would be awful-ghastly," said Delphine, with a shudder. "Why, Del, that is a new view of the case, from you," said her sister, suddenly, looking keenly at her. "You always used to be more ardent than even I was about it." "Of course I should be as willing as ever to go, if it were proved to be the best thing. But we should miss so many things, the freedom, the country air, and-" "Freedom and country air may be bought too dear," said Judith, with so sad and earnest a ring in her voice, that Delphine was fain to acquiesce, with a prolonged sigh of reluctance. "I will not tell you now what I think," said Judith; "I will give myself time to find out whether my conjecture is wrong, and if so, I will "You had! Then you are not at daggers drawn ?" "Dear Delphine, no! If you had been placed as I have been, you would understand how it was impossible for me to remain at daggers drawn with him, besides the disagreeableness of such a state of things. state of things. We dined together to-day. He thinks his grandfather's will was very unjust and" "Mr. Danesdale said he was not half bad," said Delphine reflectively. "Then I am to like him, Ju?"’ "How absurd!" cried Judith, in a tone of irritation most unusual with her. "As if you could like or dislike a man whom you did not know. He wishes to repair the injustice if he can; to get mamma's consent to some arrangement by which she should receive an allowance, or an income from a charge on the property-or whatever they call it; I don't know whether it will do, I am sure." "I don't see how it can be prevented, if mamma chooses to enter into such an arrangement, Judith." "Oh, I do, though. I should prevent it, if I thought it wrong." "You, Judith!" noon Judith knew that she was holding something back from her sister, knew that she stayed her hand from inflicting a blow upon her—which blow she yet felt would have to be dealt. "I feel as if I had a great deal on my shoul "Yes, I, Delphine. I think I shall have to ders," she answered, trying to speak carelessly. prevent it." "You speak somehow quite differently," said Delphine. "I do not understand you, Judith. I feel as if something had happened, and you look as if you had the world on your shoulders." Judith looked at her, strangely moved; Delphine was the dearest thing she had in the world -her most precious possession. To-day's interview marked a change in their relations to one another, an epoch. For until now they had always met on terms of equality; but this after "And now I must go, Delphine, or mamma will grow uneasy, and darkness will overtake me. And you must run home too." "Then the day after to-morrow, in the afternoon, Judith ?'' "Yes. Mr. Aglionby has promised that we shall have the brougham. Give my love to Rhoda, and good-night." The two figures exchanged a parting kiss in the twilight, and went their several ways. (To be continued.) ARTISTIC HOMES. ALTHOUGH Our artists' homes are so constantly cited as great examples of what may be accomplished in the way of decorating habitations so that they may become " palaces of art," rather than mere commonplace dwellings; yet happily the knowledge and appreciation of true art, viz, perfect form, exquisite symmetry, and harmonious color, is not confined to one small section of the community alone. Many persons who would in former times have left the painting, papering, and, to a great extent, the furnishing of their houses in the hands of the decorator and uphol-, sterer, now prefer to bring their own individual taste to bear on their surroundings; and the highest perfection is assuredly secured when, without following blindly the prevailing fashion, each one chooses for himself the style best suited, for his purpose, and carries it out artistically, considering no thought, labor, or time lost which he expends on making his rooms beautiful and at the same time characteristic of his tastes and feelings. As a library that has been formed by the owner, and not merely inherited, at once reveals, the bent of his mind and suggests to us the studies in which he engages; as an artist's studio gives us an insight into the school he loves best to follow; so a home, which is such in the true sense of the word, should discover to us somewhat of the characters, the tastes, the pursuits of its inhabitants. The word "artistic" brings us to the consideration of what really constitutes true art in decoration. It should be borne in mind that from the bringing together beautiful things, however lovely they individually are, will never be evolved an agreeable whole unless they are suited one to another and suitable for the purpose to which they are put. A house built in the Gothic style must be decorated in a suitable manner; but not in this alone must fitness be regarded. Rooms should be decorated and furnished so as to insure the greatest possible amount of comfort, repose, and pleasure, compatible with the uses for which they are designed: a dining-room should be arranged so that it may appear to advantage in artificial light, and present a warm, solid appearance; while a drawing-room may be more lightly and elegantly furnished. Then, again, harmony is another distinctive feature in decorative art. If a good scheme of coloring is faithfully carried out, a satisfactory and pleasing effect will be the unfailing result. A third point of no less importance is the due recognition of true proportion. All decoration is worthless if it is not perfectly adapted to the space it is intended to embellish ; the design also must be on a scale proportionate to the size of the panel it occupies. But a brief passing notice is given to these three fundamental points, the object of the present paper being to offer some practical hints for home decoration; but they will be alluded to, perchance more than once, as necessity requires. The several portions of entrance-hall and rooms, the floors, walls, ceilings, etc., first call for attention; we will afterward consider the house as a whole, and suggest a scheme or two that may be of assistance to our readers. The hall flooring may be laid in plain marbles, or patterned in mosaic work; this style is more uncommon, but, unless evenly and well laid, is no improvement on the tiles that are so fashionable at present. Either pavement is desirable on account of the ease with which perfect cleanliness may be maintained. The designs on tiles suitable for halls are so numerous that choice of the prettiest is rendered a difficult undertaking, the one great objection to their use being the noise occasioned by every passing footPlain oak or parqueterie is charming for a hall, presenting, as it does, with one or two Oriental rugs laid down, a rich, warm appearance. The polishing process keeps it as clean and free from dust as the tile pavement, and it possesses this advantage over the other, that it gives back but a subdued echo, whereas the tiles ring out each successive footfall clearly and sharply. All floors in a house may be laid either with oak or parqueterie, or the borders only may be of ornamental wood, the centre covered with a carpet. For wall decoration we have various methods and materials offered us. Woven or painted tapestry, silk, satin, cretonne, are among the textile fabrics suitable for hangings. They afford the depth and richness necessary to suit the prevailing taste. Walls either flatted or done in distemper are preferred by many to other modes of ornamentation. They can be more easily cleansed, and will not hold the dust, as do the above-named fabrics; they can be made to look warm, cool, rich, sombre, light, dim, or glowing, according to the colors the artist pleases to lay upon them, and may thus be brought to form fitting backgrounds to the furniture of any known period, and to enhance by good contrasts the colors of chair-coverings and carpets. Paper-hangings, though some would relegate them to the bedroom floors, are cool and bright-looking, and, when artistically designed and harmoniously colored, are worthy of decorating some of our choicest rooms. Entrance-halls may be painted, tiled, hung with embossed leather or Lincrusta Walton. The mention of walls brings us to the consideration of dadoes. And first as to height. A dado cannot in any case be allowed to be of such a height that the wall is thereby divided into two equal parts. The usual plan is to raise it somewhat higher than the chair-back; but it may be carried up as high as the top of the door with advantage; this gives an odd yet picturesque appearance, eminently suited to old country houses, where there is plenty of light. In town houses, closely surrounded as they are, the light obtainable is so small in quantity that it is oftentimes requisite that the walls should be as light in tone as possible, in order that they may reflect all the natural light and diffuse it around. This is especially needful in houses where the back windows are of necessity filled in with stained glass, that the outlook, which is often none of the pleasantest, may be hidden. hidden. While a rich old oaken dado cannot be rivaled for beauty, durability, and fitness, yet the many other methods of forming dadoes are good and effective in their several degrees. Matting forms a useful lower covering for a wall; it is held in place by a wooden moulding, both at top and bottom. Dark paint, a geometrical-patterned paper, leather, tapestry, are all suitable for various classes of decoration. In color they should be darker than the rest of the wall, as they occupy the lower portion. The wainscoting is generally seen to be deepest in tone; then follows the dado, which may be rather lighter, the wall filling still lighter, and then the frieze. This plan gives the appearance of solidity and strength to the room, the several gradations leading up pleasantly to the ceiling above. It is a plan, however, that is by no means invariably followed, and one that may well be departed from under a clever artist's directions; it is not, for instance, always desirable to have a light-colored ceiling. A surbase, or rail of moulded wood, divides the dado from the wall above; this is sometimes made wide enough to hold valuable pieces of old china. Or, if a paper dado is used, a border of paper may take the place of the poden moulding. Again, if paint alone is used, pattern is often stenciled above the painted dac border on the upper wall; this effectually does aw y with the abruptness that quired at their hands, it was the cornice that first attracted their attention. This was consequently picked out in all varieties of colors, and still the ceiling remained a dead white, cold, and uncompromising. The decorations of a room, like a picture, will be judged as a whole, and as a whole it is incomplete, until the ceiling space has been so utilized that it may contribute its full share to the color gradations of the general scheme. The several ways in which it may be brought to bear notice. In rooms where the use of much gas is indispensable, the surface should be one that can be easily renewed. This probably is one of the reasons that whitewash has been so generally used. The addition of a little chrome to the white will, however, form a cream tint that is far preferable to the dead white; it will carry on the tones of the cream wall tints, and yet be subject to no objection on the score of cleanliness, the renewal of a cream or gray-blue tinted ceiling being as easy as that of a crude white. If the cornice is picked out with colors, the rule to be observed is that blue should be used on concave surfaces, may be too pronounced if the dado is dark and the wall space light in color. When there are many pictures to adorn a room, a painted wall is the background best adapted to set them off to advantage; but, if paper is employed, it should be chosen of some tertiary tint, powdered with geometrically-arranged conventional flowers and leaves. If tertiary tints are not approved, a design into which are introduced in minute portions the primary colors, will produce a warm, rich effect, and will yet be free from even a sug-out the artist's conception claim therefore a slight gestion of vulgarity, provided only that the colors are well-balanced. As walls must be considered merely as backgrounds to the objects in the rooms, obtrusive patterns of fruit and flowers are objectionable; for, in so far as they become prominent and conspicuous, they detract from the objects they are intended to set off. Fitness is one of the great principles to be regarded in selecting a wall paper. Thus, if a ceiling is low, a lighttoned paper is appropriate, as a dark one would cause it to appear still lower. If a room is small, the walls should be plainly painted, or a smallpatterned paper should cover them, as a large design will have the effect of still further dimin-yellow on convex, and red on the flat portions or ishing its size. A frieze may vary in width from five or six inches to three feet, according to the height of the room and the depth of the dado. | It may be of paper, tapestry, leather, or a design may be stenciled or painted on the wall itself, or If the painting is of real value, it is best that it should be executed on canvas, as it can then be removed at pleasure. Quotations from favorite authors are affected by some for illuminating friezes; others adopt something from Æsop's fables, or arrange a design with some of Walter Crane's inimitably life-like figures; but Mr. Atkinson offers a charming suggestion when he tells us in one of his interesting papers on "The Influence of Art in Daily Life," that he has "long had a favorite idea that the poetic and graceful designs of Flaxman, such as he made for Wedgewood, might, with suitable modification, work effectively as friezes or panels for our rooms." In many houses ceilings have, until late years, been treated simply to a coating or two of whitewash; no trouble has been taken to make them anything more than clean. The generality of decorators seemed to consider that with the walls all ornamentation must cease, and when at last the idea dawned upon them that more was re undersides of the mouldings, the colors being separated by white. When ceilings are papered, simple patterns are most suitable; if too elaborate, they do not show well. The ground may be cream color, light, dark, or gray blue; or a paper in which the primary colors are so combined in small quantities that a radiant glowing effect, after the Persian style, is produced, may be advantageously employed; in this case the design will of necessity be rather more intricate. But the difficulty that meets us in the way of following out such a decoration is, that these "bloomy" papers are very seldom to be obtained, although they are now becoming by slow degrees more fashionable; the soft, subtle sage and olive greens, the indescribable shades of bronzes and grays, beautiful as they are, pall upon the observer when every house he enters bears the self-same dull tones, and more brilliant colors are gradually taking their places. If each one would boldly strike out a path for himself, instead of lazily imitating a neighbor's ideas who happens to know what is in vogue at the moment, a charming conceit, a novel design, a quaint fancy, or a successful combination of hues, would continue to be viewed with pleasure for a much longer period than is |