religious appeal. But they had to collect coupons first for _The
Sunday Sermon_.

And, finally, _The Times_, of two months later, said:

"A marriage has been arranged between Lady Dorothy Neal, daughter of the
Earl of Skye, and the Hon. Geoffrey Bollinger."

. . . . .

Than a successful revenge nothing is sweeter in life. Hector Strong was
not the man to spare anyone who had done him an injury. Yet I think his
method of revenging himself upon Lady Dorothy savoured of the
diabolical. He printed a photograph of her in _The Daily Picture
Gallery_. It was headed "The Beautiful Lady Dorothy Neal."

THE COLLECTOR

When Peter Plimsoll, the Glue King, died, his parting advice to his sons
to stick to the business was followed only by John, the elder. Adrian,
the younger, had a soul above adhesion. He disposed of his share in the
concern and settled down to follow the life of a gentleman of taste and
culture and (more particularly) patron of the arts. He began in a modest
way to collect ink-pots. His range at first was catholic, and it was not
until he had acquired a hundred and forty-seven ink-pots of various
designs that he decided to make a speciality of historic ones. This
decision was hastened by the discovery that one of Queen Elizabeth's
inkstands--supposed (by the owner) to be the identical one with whose
aid she wrote her last letter to Raleigh--was about to be put on the
market. At some expense Adrian obtained an introduction, through a third
party, to the owner; at more expense the owner obtained, through the
same gentleman, an introduction to Adrian; and in less than a month the
great Elizabeth Ink-pot was safely established in Adrian's house. It was
the beginning of the "Plimsoll Collection."

This was twenty years ago. Let us to-day take a walk through the
galleries of Mr. Adrian Plimsoll's charming residence, which, as the
world knows, overlooks the park. Any friend of mine is always welcome at
Number Fifteen. We will start with the North Gallery; I fear that I
shall only have time to point out a few of the choicest gems.

This is a Pontesiori sword of the thirteenth century--the only example
of the master's art without any notches.

On the left is a Capricci comfit-box. If you have never heard of
Capricci, you oughtn't to come to a house like this.

Here we have before us the historic de Montigny topaz. Ask your little
boy to tell you about it.

In the East Galle