ns. The
ointment used by Hadgi Stavros was, as he had said, marvelous; and in
two days I could walk as well as ever. I at once called on Mrs. and Miss
Simons.

"They departed yesterday for Trieste," said the servant, "on their way
to London."

As I was returning to Hermes Street I met Hadgi Stavros and Photini.

"How is it that the King of the Mountains is found walking in the
streets of Athens?" I said.

"What can I do in the mountains now?" he replied. "All my men are
killed, wounded or fled. I might get others. But look at my swollen
hands. How can I use a sword? No; let some one younger now take my
place. But I defy him to equal me in fame or fortune. And I have not
done yet. Before six months are gone, you will see Hadgi Stavros, Prime
Minister of Greece. Oh, there are more ways of making money than one!"

And that was the last I saw of the King of the Mountains. On the advice
of Harris, I at once returned to Hamburg, lest some of the remaining
brigands found me out, and take vengeance for the spell I had cast on
their meat. But some day I hope to go to London, and call at 31,
Cavendish Square.

* * * * *

HARRISON AINSWORTH

Tower of London

William Harrison Ainsworth, born at Manchester, England, Feb.
4, 1805, was a popular rather than a great writer. A
solicitor's son, he was himself trained in the law, but some
adventures in journalism led him finally to the literary life,
his first success as a writer of romance being scored with
"Rookwood" in 1834. "Tower of London" was the fourth work of
the novelist, and, according to Ainsworth himself, it was
written chiefly with the aim of interesting his
fellow-countrymen in the historical associations of the Tower.
From the popularity of the romance it is reasonable to suppose
that it fulfilled its author's hopes in this respect, though
it must be confessed its history leaves a good deal to be
desired. Here is not the place to discuss the rights and
wrongs of Ainsworth's bold liberties in respect to the
historical personages he introduces; but there is no doubt
that the romance is told with vigour and dramatic movement,
and it is an excellent example of the novelist's spirited
style of narrative, though, judged on purely literary merits,
like his other works, the "Tower of London" will not bear
comparison with the masterp