in practice some of the
light and playful secrets which science had taught him among its
profounder lore. Airy figures, absolutely bodiless ideas, and forms of
unsubstantial beauty came and danced before her, imprinting their
momentary footsteps on beams of light. Though she had some indistinct
idea of the method of these optical phenomena, still the illusion was
almost perfect enough to warrant the belief that her husband possessed
sway over the spiritual world. Then again, when she felt a wish to look
forth from her seclusion, immediately, as if her thoughts were
answered, the procession of external existence flitted across a screen.
The scenery and the figures of actual life were perfectly represented,
but with that bewitching, yet indescribable difference which always
makes a picture, an image, or a shadow so much more attractive than the
original. When wearied of this, Aylmer bade her cast her eyes upon a
vessel containing a quantity of earth. She did so, with little interest
at first; but was soon startled to perceive the germ of a plant
shooting upward from the soil. Then came the slender stalk; the leaves
gradually unfolded themselves; and amid them was a perfect and lovely
flower.

"It is magical!" cried Georgiana. "I dare not touch it."

"Nay, pluck it," answered Aylmer,--"pluck it, and inhale its brief
perfume while you may. The flower will wither in a few moments and
leave nothing save its brown seed vessels; but thence may be
perpetuated a race as ephemeral as itself."

But Georgiana had no sooner touched the flower than the whole plant
suffered a blight, its leaves turning coal-black as if by the agency of
fire.

"There was too powerful a stimulus," said Aylmer, thoughtfully.

To make up for this abortive experiment, he proposed to take her
portrait by a scientific process of his own invention. It was to be
effected by rays of light striking upon a polished plate of metal.
Georgiana assented; but, on looking at the result, was affrighted to
find the features of the portrait blurred and indefinable; while the
minute figure of a hand appeared where the cheek should have been.
Aylmer snatched the metallic plate and threw it into a jar of corrosive
acid.

Soon, however, he forgot these mortifying failures. In the intervals of
study and chemical experiment he came to her flushed and exhausted, but
seemed invigorated by her presence, and spoke in glowing language of
the resources of his art. He gave a hi