Arthur Berkeley's London lodgings were wonderfully snug and comfortable for the second floor of a second-rate house in a small retired side street near the Embankment at Chelsea. He had made the most of the four modest little rooms, with his quick taste and his deft, cunning fingers:--four rooms, or rather boxes, one might almost call them; a bedroom each for himself and the Progenitor; a wee sitting-room for meals and music--the two Berkeleys would doubtless as soon have gone without the one as the other; and a tiny study where Arthur might work undisturbed at his own desk upon his new and original magnum opus, destined to form the great attraction of the coming season at the lately-opened Ambiguities Theatre. Things had prospered well with the former Oxford curate during the last twelve-month. His cantata at Leeds had proved a wonderful success, and had finally induced him to remove to London, and take to composing as a regular profession. He had his qualms about it, to be sure, as one who had put his hand to the plough and then turned back; he did not feel quite certain in his own mind how far he was justified in giving up the more spiritual for the more worldly calling; but natures like Arthur Berkeley's move rather upon passing feeling than upon deeper sentiment; and had he not ample ground, he asked himself, for this reconsideration of the monetary position? He had the Progenitor's happiness to insure before thinking of the possible injury to his non-existent parishioners. If he was doing Whippingham Parva or Norton-cum-Sutton out of an eloquent and valuable potential rector, if he was depriving the Church in the next half-century of a dignified and portly prospective archdeacon, he is at least making his father's last days brighter and more comfortable than his early ones had ever been. And then, was not music, too, in its own way, a service, a liturgy, a worship? Surely he could do higher good to men's souls--as they call them--to whatever little spark of nobler and better fire there might lurk within those dull clods of common clay he saw all around him--by writing such a work as his Leeds cantata, than by stringing together for ever those pretty centos of seventeenth-century conceits and nineteenth-century doubts or hesitations which he was accustomed to call his sermons! Whatever came of it, he must give up the miserable pittance of a curacy, and embrace the career open to the musical talents.
So he fitted up his little Chelsea rooms in his own economically sumptuous fashion with some bits of wall paper, a few jugs and vases, and an etching or two after Meissonier; planted the Progenitor down comfortably in a large easy-chair, with a melodious fiddle before him; and set to work himself to do what he could towards elevating the British stage and pocketing a reasonable profit on his own account from that familiar and ever-rejuvenescent process. He was quite in earnest, now, about producing a totally new effect of his own; and
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