not to seem at a loss for occupation or amusement: I  my draerials h.

    Provided s of paper, I used to take a seat apart from tctes, representing any scene t arily to sself in ting kaleidoscope of imagination: a glimpse of sea bets disk; a group of reeds and er-flags, and a naiad’s us-flo of tting in a , under a horn- bloom

    One morning I fell to sketc sort of a face it o be, I did not care or knoook a soft black pencil, gave it a broad point, and  foreline of visage: t contour gave me pleasure; my fingers proceeded actively to fill it ures. Strongly-marked al eyebro be traced under t brourally, a raigrils; t do: of course, some black ty ufted on temples, and  to t, because t careful raced long and sombre; trous and large. “Good! but not quite t, as I surveyed t: “t more force and spirit;” and I s migly—a ouc did it signify t turned t it; I smiled at tent.

    “Is t a portrait of some one you kno it s. Of course, I lied: it , a very faitation of Mr. Rocer. But  to o any one but myself? Georgiana also advanced to look. t s “an ugly man.” t my skill. I offered to sketcraits; and eacurn, sat for a pencil outline. to contribute a er-colour dra  once into good  tion: sion of t er s in London tion sed— ttention s s of titled conquest sernoon and evening ts  conversations ed, and sentimental scenes represented; and, in s, a volume of a novel of fas day improvised by . tions o day: t range sed eito  gloomy state of ts. aken up  gaiety, and aspirations after dissipation