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When Peter Plimsoll, the Glue King, died, his parting advice to his sons to stick to the business was followed only by John, the elder. Adrian, the younger, had a soul above adhesion. He disposed of his share in the concern and settled down to follow the life of a gentleman of taste and culture and (more particularly) patron of the arts. He began in a modest way to collect ink-pots. His range at first was catholic, and it was not until he had acquired a hundred and forty-seven ink-pots of various designs that he decided to make a speciality of historic ones. This decision was hastened by the discovery that one of Queen Elizabeth’s inkstands–supposed (by the owner) to be the identical one with whose aid she wrote her last letter to Raleigh–was about to be put on the market. At some expense Adrian obtained an introduction, through a third party, to the owner; at more expense the owner obtained, through the same gentleman, an introduction to Adrian; and in less than a month the great Elizabeth Ink-pot was safely established in Adrian’s house. It was the beginning of the “Plimsoll Collection.”

This was twenty years ago. Let us to-day take a walk through the galleries of Mr. Adrian Plimsoll’s charming residence, which, as the world knows, overlooks the park. Any friend of mine is always welcome at Number Fifteen. We will start with the North Gallery; I fear that I shall only have time to point out a few of the choicest gems.

This is a Pontesiori sword of the thirteenth century–the only example of the master’s art without any notches.

On the left is a Capricci comfit-box. If you have never heard of Capricci, you oughtn’t to come to a house like this.

Here we have before us the historic de Montigny topaz. Ask your little boy to tell you about it.

In the East Gallery, of course, the chief treasure is the Santo di Santo amulet, described so minutely in his Vindiciae Veritatis by John of Flanders. The original MS. of this book is in the South Gallery. You must glance at it when we get there. It will save you the trouble of ordering a copy from your library; they would be sure to keep you waiting….

With some such words as these I lead my friends round Number Fifteen. The many treasures in the private parts of the house I may not show, of course; the bathroom, for instance, in which hangs the finest collection of portraits of philatelists that Europe can boast. You must spend a night with Adrian to be admitted to their company; and, as one of the elect, I can assure you that nothing can be more stimulating on a winter’s morning than to catch the eye of Frisby Dranger, F.Ph.S., behind the taps as your head first emerges from the icy waters.

. . . . .

Adrian Plimsoll sat at breakfast, sipping his hot water and crumbling a dry biscuit. A light was in his eye, a flush upon his pallid countenance. He had just heard from a trusty agent that the Scutori breast-plate had been seen in Devonshire. His car was ready to take him to the station.

But alas! a disappointment awaited him. On close examination the breast-plate turned out to be a common Risoldo of inferior working. Adrian left the house in disgust and started on his seven-mile walk back to the station. To complete his misery a sudden storm came on. Cursing alternately his agent and Risoldo, he made his way to a cottage and asked for shelter.

An old woman greeted him civilly and bade him come in.

“If I may just wait till the storm is over,” said Adrian, and he sat down in her parlour and looked appraisingly (as was his habit) round the room. The grandfather clock in the corner was genuine, but he was beyond grandfather clocks. There was nothing else of any value: three china dogs and some odd trinkets on the chimney-piece; a print or two—-