called grandiloquently "my concert-hall." In his desperate mood Heyst ascended three steps, lifted a calico curtain, and went in.

The uproar in that small, barn-like structure, built of imported pine boards, and raised clear of the ground, was simply stunning. An instrumental uproar, screaming, grunting, whining, sobbing, scraping, squeaking some kind of lively air; while a grand piano, operated upon by a bony, red-faced woman with bad-tempered nostrils, rained hard notes like hail through the tempest of fiddles. The small platform was filled with white muslin dresses and crimson sashes slanting from shoulders provided with bare arms, which sawed away without respite. Zangiacomo conducted. He wore a white mess-jacket, a black dress waistcoat, and white trousers. His longish, tousled hair and his great beard were purple-black. He was horrible. The heat was terrific. There were perhaps thirty people having drinks at several little tables. Heyst, quite overcome by the volume of noise, dropped into a chair. In the quick time of that music, in the varied, piercing clamour of the strings, in the movements of the bare arms, in the low dresses, the coarse faces, the stony eyes of the executants, there was a suggestion of brutality-something cruel, sensual and repulsive.

"This is awful!" Heyst murmured to himself.

But there is an unholy fascination in systematic noise. He did not flee from it incontinently, as one might have expected him to do. He remained, astonished at himself for remaining, since nothing could have been more repulsive to his tastes, more painful to his senses, and, so to speak, more contrary to his genius, than this rude exhibition of vigour. The Zangiacomo band was not making music; it was simply murdering silence with a vulgar, ferocious energy. One felt as

if witnessing a deed of violence; and that impression was so strong that it seemed marvellous to see the poeple sitting so quietly on their chairs, drinking so calmly out of their glasses, and giving no signs of distress, anger or fear. Heyst averted his gaze from the unnatural spectacle of their indifference.

When the piece of music came to an end, the relief was so great that he felt slightly dizzy, as if a chasm of silence had yawned at his feet. When he raised his eyes, the audience, most perversely, was exhibiting signs of animation and interest in their faces, and the women in white muslin dresses were coming down in pairs from the platform into the body of Schomberg's "concert-hall." They dispersed themselves all over the place. The male creature with the hooked nose and purple-black beard disappeared somewhere. This was the interval during which, as the astute Schomberg had stipulated, the members of the orchestra were encouraged to favour the members of the audience with their company-that is, such members as seemed inclined to fraternize with the arts in a familiar and generous manner; the symbol of familiarity and generosity consisting in offers of refreshment.

The procedure struck Heyst as highly incorrect. However, the impropriety of Schomberg's ingenious scheme was defeated by the circumstance that most of the women were no longer young, and that none of them had ever been beautiful. Their more or less worn cheeks were slightly rouged; but apart from that fact, which might have been simply a matter of routine, they did not seem to take the success of the scheme unduly to heart. The impulse to fraternize with the arts being obviously weak in the audience, some of the musicians sat down listlessly at unoccupied tables, while others went on perambulating the central passage arm

called grandiloquently "my concert-hall." In his desperate mood Heyst ascended three steps, lifted a calico curtain, and went in.

The uproar in that small, barn-like structure, built of imported pine boards, and raised clear of the ground, was simply stunning. An instrumental uproar, screaming, grunting, whining, sobbing, scraping, squeaking some kind of lively air; while a grand piano, operated upon by a bony, red-faced woman with bad-tempered nostrils, rained hard notes like hail through the tempest of fiddles. The small platform was filled with white muslin dresses and crimson sashes slanting from shoulders provided with bare arms, which sawed away without respite. Zangiacomo conducted. He wore a white mess-jacket, a black dress waistcoat, and white trousers. His longish, tousled hair and his great beard were purple-black. He was horrible. The heat was terrific. There were perhaps thirty people having drinks at several little tables. Heyst, quite overcome by the volume of noise, dropped into a chair. In the quick time of that music, in the varied, piercing clamour of the strings, in the movements of the bare arms, in the low dresses, the coarse faces, the stony eyes of the executants, there was a suggestion of brutality-something cruel, sensual and repulsive.

"This is awful!" Heyst murmured to himself.

But there is an unholy fascination in systematic noise. He did not flee from it incontinently, as one might have expected him to do. He remained, a tonished at himself for remaining, since nothing co have been more repulsive to his tastes, more painf his senses, and, so to speak, more contrary to his g than this rude exhibition of vigour. The Zan band was not making music: its simply silence with a

in arm, glad enough, no doubt, to stretch their legs while resting their arms. Their crimson sashes gave a factitious touch of gaiety to the smoky atmosphere of the concert-hall; and Heyst felt a sudden pity for these beings, exploited, hopeless, devoid of charm and grace, whose fate of cheerless dependence invested their coarse and joyless features with a touch of pathos.

Heyst was temperamentally sympathetic. To have them passing and repassing close to his little table was painful to him. He was preparing to rise and go out when he noticed that two white muslin dresses and crimson sashes had not yet left the platform. One of these dresses concealed the raw-boned frame of the woman with the bad-tempered curve to her nostrils. She was no less a personage than Mrs. Zangiacomo. She had left the piano, and, with her back to the hall, was preparing the parts for the second half of the concert, with a brusque, impatient action of her ugly elbows. This task done, she turned, and, perceiving the other white muslin dress motionless on a chair in the second row, she strode towards it between the music-stands with an aggressive and masterful gait. On the lap of that dress there lay, unclasped and idle, a pair of small hands, not very white, attached to well-formed arms. The next detail Heyst was led to observe was the arrangement of the hair-two thick brown tresses rolled round an attractively shaped head.

"A girl, by Jove!" he exclaimed mentally.

It was evident that she was a girl. It was evident in the outline of the shoulders, in the slender white bust springing up, barred slantwise by the crimson sash, from the bell-shaped spread of muslin skirt hiding the chair on which she sat averted a little from the body of the hall. Her feet, in low white shoes, were crossed prettily.