orning Dickson and his wife Jenny are full of curiosity
about George's visit, but he does not breathe a word of his secret.

The sale of the castle as previously announced is to begin, and Dickson
has been empowered beforehand by all the neighboring farmers, to bid
the highest price, in order not to let it fall into the hands of the
hateful Gaveston. They bid higher and higher, but at length Dickson
stops, unable to go farther. Gaveston feels assured of his triumph,
when George Brown, recalling his vow to the white Lady, advances
boldly, bidding one thousand pounds more. Anna is beside him, in the
shape of the spectre, and George obediently bids on, till the castle is
his for the price of three hundred thousand pounds. Gaveston in a
perfect fury, swears avenge himself on the adventurer, who is to pay
the sum in the afternoon. Should he prove unable to do so, he shall be
put into prison. George, who firmly believes in the help of his
genius, is quietly confident, and meanwhile makes an inspection of the
castle. {49} Wandering through the vast rooms, dim recollections arise
in him, and hearing the minstrel's song of the Avenels, he all at once
remembers and finishes the romance, which he heard in his childhood.

The afternoon comes and with it Mac-Irton, the justice of peace. He
wants the money, and George begs to await the white Lady, who promised
her help. Anna appears, bringing the treasure of the Avenels hidden in
the statue, and with them some documents, which prove the just claims
of Edwin Count Avenel. This long lost Count she recognizes in George
Brown, whose identity with the playmate of her youth she had found out
the night before. Gaveston approaches full of wrath to tear aside the
ghost's white veil, and sees his own ward, Anna.

The happy owner of castle and country holds firm to the promise which
he gave the white Lady, and offers hand and heart to the faithful Anna,
who has loved him from her childhood.

IL DEMONIO.

Fantastic Opera in three acts by ANTON RUBINSTEIN

Text after the Russian of ALFRED OFFERMANN.

This opera of the great Russian musician has an entirely national
character. The great features of Rubinstein's work are most fertile
imagination and an immense power of expression, which however sometimes
almost passes the permitted bounds, although the forms are perfectly
mastered and the fanciful subject is well calculated to afford it room
{50} for play. It is taken fr