Today's Stichomancy for George Bernard Shaw

Bruel's piece had succeeded, and she foresaw an avalanche of criticisms. Tullia had her At Homes. Every Monday she gave a tea- party; her society was as select as might be, and she neglected nothing that could make her house pleasant. There was a bouillotte in one room, conversation in another, and sometimes a concert (always short) in the large drawing-room. None but the most eminent artists performed in the house. Tullia had so much good sense, that she attained to the most exquisite tact, and herein, in all probability, lay the secret of her ascendency over du Bruel; at any rate, he loved her with the love which use and wont at length makes indispensable to life. Every day adds another thread to the strong, irresistible,

loved him more, and yet--there was something. Was it in her or in him? She had a woman's assurance of his love and sometimes she caught her breath--so sweet and strong was the tumultuous emotion it stirred. She preferred to enjoy while she could, to dream instead of think. But it was not possible to hold a blank, dreamy, lulled consciousness all the time. Thought would return. And not always could she drive away a feeling that Glenn would never be her slave. She divined something in his mind that kept him gentle and kindly, restrained always, sometimes melancholy and aloof, as if he were an impassive destiny waiting for the iron consequences he knew inevitably must fall. What was this that he knew which she did not know? The idea haunted her. Perhaps it was that which compelled her to use all

The Call of the Canyon

"I will bury that nasty person in the hole which he has dug. I will bring my bedding out, and dry it in the sun," said Mr. Tod.

"I will wash the tablecloth and spread it on the grass in the sun to bleach. And the blanket must be hung up in the wind; and the bed must be thoroughly disinfected, and aired with a warming-pan; and warmed with a hot-water bottle."

only a part of your soul into the well-beloved work. The torch of Prometheus went out in your hands over and over again; there are several parts of your painting on which the celestial flame never shone."

"But why is it so, my dear master?" said Porbus humbly, while the young man could hardly restrain a strong desire to strike the critic.

"Ah! that is the question," said the little old man. "You are floating between two systems,--between drawing and color, between the patient phlegm and honest stiffness of the old Dutch masters and the dazzling warmth and abounding joy of the Italians. You have tried to follow, at one and the same time, Hans Holbein and Titian; Albrecht Durier and