conscious in every limb than he had ever
done in all his life before.

"Well, Margaret, now to luncheon, as fast
as we can. Have you ordered it?"

"No, papa; that man was here when I
came home, and I have never had an
opportunity."

"Then we must take anything we can get.
He must have been waiting a long time, I'm
afraid."

"It seemed exceedingly long to me. I was
just at the last gasp when you came in. He
never went on with any subject, but gave
little, short, abrupt answers."

"Very much to the point though, I should
think. He is a clear-headed fellow. He said
(did you hear?) that Crampton is on gravelly
soil, and by far the most healthy suburb in
the neighbourhood of Milton.''

When they returned to Heston, there was
the day's account to be given to Mrs. Hale,
who was full of questions which they answered
in the intervals of tea-drinking.

"And what is your correspondent, Mr.
Thornton, like?"

"Ask Margaret," said her husband. "She
and he had a long attempt at conversation,
while I was away speaking to the landlord."

"Oh! I hardly know what he is like," said
Margaret, lazily; too tired to tax her powers
of description much. And then rousing
herself, she said, "He is a tall, broad-shouldered
man, about—how old, papa?"

"I should guess about thirty."

"About thirty—with a face that is neither
exactly plain, nor yet handsome, nothing
remarkable—not quite a gentleman; but that
was hardly to be expected."

"Not vulgar, or common though," put in
her father, rather jealous of any disparagement
of the sole friend he had in Milton.

"Oh no!" said Margaret. "With such an
expression of resolution and power, no face,
however plain in feature, could be either
vulgar or common. I should not like to have
to bargain with him; he looks very inflexible.
Altogether a man who seems made for his
niche, mamma, sagacious, and strong as
becomes a great tradesman."

"Don't call the Milton manufacturers
tradesmen, Margaret," said her father. "They
are very different."

"Are they? I apply the word to all who
have something tangible to sell; but if you
think the term is not correct, papa, I won't
use it. But, oh mamma! speaking of
vulgarity and commonness, you must prepare
yourself for our drawing-room paper. Pink
and blue roses, with yellow leaves! And
such a heavy cornice round the room!"

But when they removed to their new house
in Milton, the obnoxious papers were gone.
The landlord received their thanks very
composedly; and let them think, if they
liked, that he had relented from his expressed
determination not to repaper. There was no
particular need to tell them that what he did
not care to do for a Reverend Mr. Hale,
unknown in Milton, he was only too glad to do
at the one short sharp remonstrance of Mr.
Thornton, the wealthy manufacturer.

CHIP.

COLOURING.

To ladies who make cunning use of colour
not by painting their faces, but by a deep
and subtle study of costume; to artists,
house-furnishers, ornamental gardeners, and
others, there have been officially delivered
at Paris and Lyons, during the last quarter
of a century, sundry lectures by M. Chevreul,
upon the practical effect of certain laws
connected with the contrast of colours; and
these lectures, which were formed by him
into a book fifteen years ago, have been lately
translated into English. Having read the
translation, we write what follows.

Monsieur Chevreul, learned in the law of
colours, was appointed long ago to superintend
the dyeing department ot the manufactory
of the Gobelin tapestries. One of the
first questions asked of him was, Why are
the black tints bad that are employed as
shadows in blue draperies? He answered
that the black was ot course spoiled by
contrast. M. Chevreul followed up his hint by
arranging together various masses of coloured
wool taken from the warehouse, observed
how colours put side by side mutually
affected one another; and, from that point,
carried on his researches in various ways to
maturity. We state some of the results,
chiefly having in mind the uses to which
ladies may put them.

First must be set down two very plain
rules. One concerns the setting side by side
of two different shades of the same colour.
Put side by side squares tinted with Indian
ink, each square having one uniform tint, but
no two squares of the same intensity. Arrange
them in a row, according to a regular scale,
beginning with the lightest and ending with
the darkest. Then every square will be seen
to be modified by those on either side of it;
the border next a darker square will be
lightened in effect, the border next a light
square will be darkened in effect. The whole
row of tinted squares, seen from a little
distance, will be made in this way to appear not
flat, but fluted. Such is the effect of tints
upon each other.

The effect of hues, or contrasting colours,
may be expressed in the second main rule
Contrasting or complementary colours are
such as when blended together give rise to the
perception of whiteness. The most perfect of
these relations is that existing between blue,
yellow and red; for, mix those three colours,
and they produce white; consequently a
colour complementary to each of these is
made by blending the other two. Because
blue with yellow creates green, green is the