know," remarked third fiddle. " Now, if you'll
count steadily on from this place—one, two,
three, four, and then come in, I think it will be
all right. Shall we try it again?"

"By all means," replied Mr. Lethwaite,
letting one of his drumsticks fall upon the
resounding parchment after a fashion which
would have made a " surprise symphony" of
any piece of music into which the ornament had
been introduced. " By all means—now then."

"Wheen, squee, rhepe, twiddle," went the
third violin.

"One, two, three, four," and " r-r-r-rap a tap
a rap a tap a rap tap rap rap rap rap," chimed
in the drum.

"Well, that's right enough," said the violin,
encouragingly.

"Yes, I think that was better," remarked the
other, and he went on again. " One, two, three,
four. Won't you play the passage?"

"Oh yes, I beg your pardon. Where shall
we begin?"

"Oh, the old place, one, two, three, four—I
beg your pardon, weren't you a little slow?"

"No, I think not. The passage goes like this,
you know, one, two, three, four. I was thinking
you were a little fast, if you'll excuse me."

"Oh, by all means. Now we'll try it again."

"Wheep, squeen, wheen, twiddle," quoth the
violin, once more whining with the most intense
feeling.

"One, two, three, four, rattle tattle tattle
iattle r-r-r-rap tap tap tap tap," urged the drum,
with as much feeling as could be expected.

"How did you like that?" demanded the
drum.

"A very little more will do it now," replied
ihe fiddle. " But I think I would try another
passage, if I were you. Here, for instance," he
continued, after turning the leaves of the music-
book over two or three times, " is a part where
you come in at intervals, which is difficult."

"Difficult! I imagine it is difficult. You
require to be as eagerly on the watch as if you
were shooting pigeons out of a trap. I never
thought," remarked Mr. Lethwaite, "that I
should take so much trouble about anything."

"Well, if I were you, I'd stick to that part
exclusively for a time. Suppose you try it over
now."

"You're right," replied our artist on the
drums; " we'll go at it at once."

"Are you ready?" asked the fiddle, bow in
hand.

Mr. Lethwaite was so absorbed in readiness,
with a drumstick in each hand, and his eyes
fixed upon the score, that he could not speak.
But he nodded an eager assent, and the other
started off.

It certainly seemed to be a very difficult passage
this. It was fitful and brilliant, full of change,
and the pace, as the sporting phrase goes,
terrific. The drums were wanted constantly, at
very short intervals—a very rapid burst and no
more. Then a flourishing bit for the fiddles,
and then a bit of drum again. The effect, too,
was rendered the more astounding in the present
case because the third violin naturally and rightly
did not play the main air, the melody of the
piece, but only his own part, which played thus
as a solo was altogether mysterious and
inexplicable. Mr. Lethwaite actually perspired with
the severity of the mental exercise in which he
was engaged. His counting was so violent, that
it resembled the puffing of a steam-engine. He
was absolutely out of breath with his efforts to
keep pace with his companion's flourishes.

"One, two, three, four—one, two, three, four
—rap, tap—one, two—rap a tap, a tap, a tap—
one, two, three, four—rap—one, two—rap a
tap a rap a tap a r-r-r-r-ap tap, tap, tap, tap.
Stop. What was that?"

"I think it was a knock at the door," replied
third fiddle.

"One, two," Mr. Lethwaite was beginning,
when the knock was repeated. " Come in," he
called, and the servant came into the room.

"Mr. Goodrich is below, sir," said the man,
"and wishes to speak with you very particular."

"Ask Mr. Goodrich to walk up," replied
Lethwaite, beginning to count again. "We
can go on just the same," he continued, addressing
his companion; " it's only my clerk. Now
then. One, two, three, four. Ah, Goodrich,
how d'ye do? All right? One, two. I'll speak
to you directly, if you'll sit clown. Now, once
more. One, two, three, four, rap, tap, rap a tap
a tap, tap." And off they went again.

He had not noticed how pale the old clerk
looked, nor observed that the expression of his
face was changed and anxious.

"If you please, sir," said Jonathan, " I wished
to speak——"

"Ah, yes; wait a bit though—rap, tap rap a
tap a tap tap—one, two, three, four—rap a tap
a tap."

"It's very particular."

"Yes, yes, I know. Now then, Scroop—
one two." And off went Scroop, "wheep,
squeen, twiddle diddle diddle diddle diddle,"
and the drums " rap, tap, rap a tap a rap a tap
a rap tap tap tap tap tap."

"If you please, sir, interrupted Jonathan,
eagerly, "it's most important."

"Yes, I know. It always is. One, two,
three, four."

"I should take it as a great favour, sir——"

"One, two, three, four."

"Sir," said Jonathan Goodrich, coming forward
and laying his hand on his employer's arm,
"I must speak to you, and that at once."

Lethwaite turned suddenly round, and saw
by the expression of his clerk's face that it
really was something important which the old
man had to communicate.

"Why, Jonathan, man," he said, " what's
the matter?"

"Well, sir, I've come to tell you what's the
matter, but——"

"But what?"

"Sir, I should be very sorry to say anything
that might seem rude or unmannerly, but, but
—might I ask the favour of speaking to you
alone?"