seemed to excite Guy to a dangerous extent, as Laura thought, and she
turned to Philip to ask if he would not read to them again.

'I brought this book on purpose,' said Philip. 'I wished to read you a
description of that print from Raffaelle--you know it--the Madonna di
San Sisto?'

'The one you brought to show us?' said Amy, 'with the two little
angels?'

'Yes, here is the description,' and he began to read--

'Dwell on the form of the Child, more than human in grandeur, seated on
the arms of the Blessed Virgin as on an august throne. Note the tokens
of divine grace, His ardent eyes, what a spirit, what a countenance is
His; yet His very resemblance to His mother denotes sufficiently that
He is of us and takes care for us. Beneath are two figures adoring,
each in their own manner. On one side is a pontiff, on the other a
virgin each a most sweet and solemn example, the one of aged, the other
of maidenly piety and reverence. Between, are two winged boys,
evidently presenting a wonderful pattern of childlike piety. Their
eyes, indeed, are not turned towards the Virgin, but both in face and
gesture, they show how careless of themselves they are in the presence
of God.'

All were struck by the description. Guy did not speak at first, but
the solemn expression of his face showed how he felt its power and
reverence. Philip asked if they would like to hear more, and Charles
assented: Amy worked, Laura went on with her perspective, and Guy sat
by her side, making concentric circles with her compasses, or when she