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" "I hope you never may, my love," humbly acquiesced the carpenter. "What?… Oh!… Well, good Lord!" He wrenched loose his head and stood up, sending the chair clattering to the floor. ’ ‘Damnation!’ ‘What the devil ails you?’ demanded his friend, striding forward. Wouldn't it be fun to see his name on a book-cover some day? He'll go strutting up and down without ever dreaming he owed the whole shot to us. ” She said. The man himself was not a pleasant object. Silken open robes over full tiffany petticoats in a contrasting colour were, Lucy assured him, of the very latest Parisian design, cut by the finest French tailors. He won’t have menservants inside the house, and his collection of carriages is only fit for a museum—where most of his friends ought to be, by-the-bye. Here the ribs of a thousand pounds beating against the Needles— those dangerous rocks, credulity here floated, to and fro, silks, stuffs, camlets, and velvet, without giving place to each other, according to their dignity; here rolled so many pipes of canary, whose bungholes lying open, were so damaged that the merchant may go hoop for his money," A less picturesque, but more truthful, and, therefore, more melancholy description of the same scene, is furnished by the shrewd and satirical Ned Ward, who informs us, in the "Delectable History of Whittington's College," that "When the prisoners are disposed to recreate themselves with walking, they go up into a spacious room, called the Stone Hall; where, when you see them taking a turn together, it would puzzle one to know which is the gentleman, which the mechanic, and which the beggar, for they are all suited in the same garb of squalid poverty, making a spectacle of more pity than executions; only to be out at the elbows is in fashion here, and a great indecorum not to be threadbare. I do, however.

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