Some day, when the arts of the writer and illustrator are more closely blended than they are to-day, it will be possible to tell of all that followed this blow, with an approach to its actual effect. Here there should stand a page showing simply and plainly the lower half of the window of the Jago Street Post Office, a dark, rather grimy pane¹, reflecting the light of a street lamp—and broken. Below the pane would come a band of evilly painted woodwork, a corner of letter-box, a foot or so of brickwork, and then the pavement with a dropped lump of iron. That would be the sole content of this page, and the next page would be the same, but very slightly fainter, and across it would be printed a dim sentence or so of explanation. The page following that would show the same picture again, but now several lines of type would be visible, and then, as one turned over, the smashed window would fade a little, and the printed narrative², still darkened and dominated by it, would nevertheless resume. One would read on how Lady Harman returned to convince the incredulous young Yorkshireman of her feat³, how a man with a barrow-load of bananas volunteered comments, and how she went in custody⁴, but with the extremest dignity, to the police-station. Then, with some difficulty, because that imposed picture would still prevail over the letterpress, and because it would be in small type, one would learn how she was bailed⁵ out by Lady Beach-Mandarin, who was clearly the woman she ought to have gone to in the first place, and who gave up a dinner with a duchess to entertain her, and how Sir Isaac, being too torn by his feelings to come near her spent the evening in a frantic⁶ attempt to keep the whole business out of the papers. He could not manage it. The magistrate⁷ was friendly next morning, but inelegant in his friendly expedients⁸; he remanded Lady Harman until her mental condition could be inquired into, but among her fellow-defendants—there had been quite an

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