INTERVENTION.

Bees, in their own volumes hivingBorrowed sweets from others' gardens.

And thus it ever is. The inceptions of true genius are always essentially imitations. A great writer does not begin by ransacking for the odd and new. He re-models—betters. Trusting not hypotheses unproven, he demonstrates himself the proposition ere he wagers his faith on the corollary; and it is thus that in time he grows to be a discoverer, an inventor, anoriginator.

Toward originality all should steer; but can only hope to reach it through imitation. For if originality be the Colchis where the golden fleece of immortality is won, imitation must be the Argo in which we sail thither.

Intervene! and see what you'll catchIn a powder-mill with a lighted match.Intervene! if you think fit,By jumping into the bottomless pit.Intervene! How you'll gape and gazeWhen you see all Europe in a blaze!Russia gobbling your world half in,Red Republicans settling withsin;Satan broke loose and nothing between—That'swhat you'll catch if you intervene!

There was a shop occupied by a dealer in paintings, engravings, intaglios, old crockery, andBric-à-brac-ery generally, down the Via Condotti, and into this shop Mr. William Browne, of St. Louis, one morning found his way. He had been induced to enter by reading in the window, written on a piece of paper,

'A REEL TITIANO FOR SAL,'

and as he wisely surmised that the dealer intended to notify the English that he had a painting by Titian for sale, he went in to see it.

Unfortunately for Mr. Browne, familiarly known as Uncle Bill, he had one of those faces that invariably induced Roman tradesmen to resort to the Oriental mode of doing business, namely, charging three hundred per cent profit; and as this dealer having formerly been a courier, commissionaire and pander to English and American travelers, naturally spoke a disgusting jargon of Italianized English, and had what he believed were the most distinguished manners:hecharged five hundred per cent.

'I want,' said Uncle Bill to the 'brick-Bat' man, 'to see your Titian.'

'I shall expose 'im to you in one moment, sare; you walk this way. He's var' fine pickshoor, var' fine. You ben long time in Rome, sare?'

No reply from Uncle Bill: his idea was, even a wise man may ask questions, but none but fools answer fools.

Brick-bat man finds that his customer has ascended the human scale one step; he prepares 'to spring dodge' Number two on him.

'Thare, sar, thare is Il Tiziano! I spose you say you see notheeng bote large peas board: zat peas board was one táble for two, tree hundret yars; all zat time ze pickshoor was unbeknounst undair ze táble. Zey torn up ze table, and you see a none-doubted Tiziano. Var' fine pickshoor!'

'Do you know,' asked Uncle Bill, 'if it was in a temperance family all that time?'

'I am not acquent zat word, demprance—wot it means?'

'Sober,' was the answer.

'Yas, zat was in var' sobair fam'ly—in convent of nons.'

'That will account for its being undiscovered so long—all the world knows they are not inquisitive! If it had been in a drinking-house, some body falling under the table would have seen it—wouldn't they?'

Brick-bat reflects, and comes to the conclusion that the 'eldairly cove' is wider-awake than he believed him, at first sight.

'Now I torne zis board you see on ze othaire side, ze Bella Donna of Tiziano. Zere is one in ze Sciarra palace, bote betwane you and I, I don't believe it is gin'wine.'

'I don't know much about paintings,' spoke Uncle Bill, 'but I know I've seen seventy-six of these Belli Donners, and each one was sworn to as the original picture!'

'Var' true, sare, var' true, Tiziano Vermecellio was grate pantaire, man of grate mind, and when he got holt onto fine subjick he work him ovair and ovair feefty, seexty times. Ze chiaro-'scuro is var' fine, and ze depfs of his tone somethings var' deep, vary. Look at ze flaish, sare, you can pinch him, and, sare, you look here, I expose grand secret to you. I take zis pensnife, I scratgis ze pant. Look zare!'

'Well,' said Uncle Bill, 'I don't see any thing.'

'You don't see anne theengs! Wot you see under ze pant?'

'It looks like dirt.'

'Cospetto!zat is ze gr-and prep-par-ra-tion zat makes ze flaish of Tiziano more natooral as life. You know grate pantaire, Mistaire Leaf, as lives in ze Ripetta? Zat man has spend half his lifes scratging Tiziano all to peases, for find out 'ow he mak's flaish: now he believes he found out ze way, bote, betwane you and I——' Here the Brick-bat man conveyed, by a shake of his head and a tremolo movement of his left hand, the idea that 'it was all in vain.'

'What do you ask for the picture?' asked Uncle Bill

The head of the Brick-bat man actually disappeared between his shoulders as he shrugged them up, and extended his hands at his sides like the flappers of a turtle. Uncle Bill looked at the man in admiration; he had never seen such a performance before, save by a certain contortionist in a traveling circus, and in his delight he asked the man, when his head appeared, if he wouldn't do that once more, only once more!

In his surprise at being asked to perform the trick, he actually went through it again. For which, Uncle Bill thanked him, kindly, and again asked the price of the Titian.

'I tak' seex t'ousand scudi for him, not one baiocch less.'

'It an't dear,'specially for those who have the money to scatterlophisticate,' replied Uncle Bill cheerfully.

'No, sare, it ees dogs chip, var' chip. I have sevral Englis' want to buy him bad; I shall sell him some days to some bodies. Bote, sare, will you 'ave ze goodniss to write down on peas paper zat word, var' fine word, you use him minit 'go—scatolofistico sometheengs—I wis' to larn ze Englis' better as I spiks him.'

'Certainly; give me a pencil and paper, I'll write it down, and you'll astonish some Englishman with it, I'll bet a hat.'

So it was written down; and if any one ever entered a shop in the Condotti where there was a Titiano for Sal, and was 'astonished' by hearing that word used, they may know whence it came.

Mr. Browne, after carefully examining the usual yellow marble model of the column of Trajan, the alabaster pyramid of Caius Cestius, the verd antique obelisks, the bronze lamps, lizards, marbletazze, and paste-gems of the modern-antique factories, the ever-present Beatrice Cenci on canvas, and the water-color costumes of Italy, made a purchase of a Roman mosaic paper-weight, wherein there was a green parrot with a red tail and blue legs, let in with minute particles of composition resembling stone, and left the Brick-bat man alone with his Titiano for Sal.

Rocjean came into Caper's studio one morning, evidently having something to communicate.

'Are you busy this morning? If not, come along with me; there is something to be seen—something that beats the Mahmoudy Canal of the Past, or the Suez Canal of the Present, for wholesale slaughter; for I do assure you, on the authority of Hassel, that nine hundred and thirty-six million four hundred and sixty-one thousand people died before it was finished!'

'That must be a work worth looking at. Why, the Pyramids must be as anthills to Chimborazo in comparison to it! Nine hundred and odd millions of mortals! Why, that is about the number dying in a generation—and these have passed away while it was being completed? It ought to be a master-piece.'

'Can't we get a glass of wine round here?' asked Rocjean, looking at his watch; 'it is about luncheon-time, and I have a charming little thirst.'

'Oh! yes, there is a wine-shop only three doors from here, pure Roman. Let us go: we can stand out in the street and drink if you are afraid to go in.'

Leaving the studio, they walked a few steps to a house that was literally all front-door; for the entrance was the entire width of the building, and a buffalo-team could have passed in without let. Outside stood a wine-cart, from which they were unloading several smallcasks of wine. The driver's seat had a hood over it, protecting him from the sun, as he lazily sleeps there, rumbling over the tufa road, to or from the Campagna, and around the seat were painted in gay colors various patterns of things unknown. In the autumn, vine-branches with pendent, rustling leaves decorate hood and horse, while in spring or summer, a bunch of flowers often ornaments this gay-looking wine-cart.

The interior of the shop was dark, dingy, sombre, and dirty enough to have thrown an old Flemish Interior artist into hysterics of delight. There was anolla podridabrowniness about it that would have entranced a native of Seville; and a collection of dirt around, that would have elevated a Chippeway Indian to an ecstasy of delight. The reed-mattings hung against the walls were of a gulden ochre-color, the smoked walls and ceiling the shade of asphaltum and burnt sienna, the unswept stone pavement a warm gray, the old tables and benches very rich in tone and dirt; the back of the shop, even at midday, dark, and the eye caught there glimpses of arches, barrels, earthen jars, tables and benches resting in twilight, and only brought out in relief by the faint light always burning in front of the shrine of the Virgin, that hung on one of the walls.

In a wine-shop this shrine does not seem out of place, it is artistic; but in a lottery-office, open to the light of day, and glaringly common-place, the Virgin hanging there looks much more like the goddess Fortuna than Santa Maria.

But they are inside the wine-shop, and the next instant a black-haired gipsy-looking woman with flashing, black eyes, warming up the sombre color of the shop by the fiery red and golden silk handkerchief which falls from the back of her head, Neapolitan fashion, illuminating that dusky old den like fireworks, asks them what they will order?

'A foglietta of white wine.'

'Sweet or dry?' she asks.

'Dry,' (asciùtto,) said Rocjean.

There it is on the table, in a glass flask, brittle as virtue, light as sin, and fragile as folly. They are called Sixtusses, after that pious old Sixtus V. who hanged a publican and wine-seller sinner in front of his shop for blasphemously expressing his opinion as to the correctness of charging four times as much to put the fluoric-acid government stamp on them as the glass cost. However, taxes must be raised, and the thinner the glass the easier it is broken, so the Papal government compel the wine-sellers to buy these glass bubbles, forbidding the sale of wine out of any thing else save thebottiglie; and as it raises money by touching them up with acid, why, the people have to stand it. Thesefogliettehave round bodies and long, broad necks, on which you notice a white mark made with the before-mentioned chemical preparation; up to this mark the wine should come, but the attendant generally takes thumb-toll, especially in the restaurants where foreigners go, for the Roman citizen is not to be swindled, and will have his rights: the single expression, 'I AM A ROMAN CITIZEN,' will at times save him at least twobaiocchi, with which he can buy a cigar. There was a time when these words would have checked the severest decrees of the highest magistrate: now when they fire off 'that gun,' the French soldiers stand at its mouth, laugh, and say; 'Boom!you have no balls for your cartridges!'

The wine finished, our two artists took up their line of march for the object that had outlived so many millions on millions of human beings, and at last reached it, discovering its abode afar off, by the crowd of fair-and unfair, or red-haired Saxons, who were thronging up a staircase of a house near the Ripetta, as if a steamboat were ringing her last bell and the plank were being drawn in.

'And pray, can you tell me, Mister Buller, if it's a positive fact that the man has been so long as they say, at work on the thing?'

'And ah! I haven't the slightest doubt of it, myself. I've been told that hehas worked on it, to be sure, for full thirty years; and I may say I am delighted, that he has it done at last, and that it is to be packed up and sent away to St. Petersburg next week. And how do you like the Hotel Minerva? I think it's not a very dirty inn, but the waiters are very demanding, and the fleas—'

'I beg you won't speak of them, it makes my blood run cold. Have you seen the last copy ofGalignani? The Americans, I am glad to see, have had trouble with us, and I hope they will be properly punished. Do you know the Duke of Bigghed is in town?'

'Really! and when did he come—and where is the Duchess? oh!—she's a very amiable lady—but here's the picture!'

Ushered in, or preceded by this rattle-headed talk, Caper and Rocjean stood at last before Ivanhof's celebrated painting—finished at last! Thirty years' work, and the result?

A very unsatisfactory stream of water, a crowd of Orientals, and our Saviour descending a hill.

The general impression left on the mind after seeing it, was like that produced by a wax-work show. Nature was travestied; ease, grace, freedom, were wanting: evidently the thirty years might have been better spent collecting beetles or dried grasses.

Around the walls of the studio hung sketches painted during visits the artist had made to the East. Here were studies of Eastern heads, costumes, trees, soil by river-side, sand in the desert, copied with scrupulous care and precise truth, yet, when they were all together in the great painting, the combined effect was a failure.

The artist, they said, had, during this long period, received an annual pension of so many roubles from the Russian government, and had taken his time about it. At last it was completed; the painting that had outlasted a generation was to be sent to St. Petersburg to hibernate after a lifetime spent in sunny Italy. Well! after all, it was better worth the money paid for it than that paid for nine tenths of those kingly toys in the baby-house Green Chambers of Dresden.Le Roi s'amuse!

And the white-haired Saxons came in shoals to the studio to see the painting with thirty years' labor on it, and accordingly as their oracles had judged it, so did they: for behold! gay colors are tabooed in the mythology of the Pokerites, and are classed with perfumes, dance-music, and jollity, and art earns a precarious livelihood in their land, where all knowledge of it is supposed to be tied up with the enjoyers of primogeniture.

The Apollo, where grand opera, sandwiched with moral ballets, is given for the benefit of foreigners, principally, would be a fine house if you could only see it; but when Caper was in Rome, the oil-lamps, showing you where to sit down, did not reveal its proportions, or the dresses of the box-beauties, to any advantage; and as oil-lamps will smoke, there settled a veil over the theatre towards the second act, that draped Comedy like Tragedy, and then set her to coughing.

During Carnival a melancholy ball or two was given there: a few wild foreigners venturing in masked, believed they had mistaken the house, for although many women were wandering around in domino, they found the Roman young men unmasked, walking about dressed in canes and those dress-coats, familiarly known as tail-coats, which cause a man to look like a swallow with the legs of a crane, and wearing on their impassive faces the appearance of men waiting for an oyster-supper—or an earthquake.

The commissionaire at the hotel always recommends strangers to go to the Apollo: 'I will git you lôge, sare, first tier—more noble, sare.'

The Capranica Theatre is next in size and importance; it is beyond the Pantheon, out of the foreign quarter of Rome, and you will find in it a Roman audience—to a limited extent. Salvini acted there inOthello, and filled thecharacter admirably; it is needless to say that Iago received even more applause than Othello; Italians know such men profoundly—they are Figaros turned undertakers. Opera was given at the Capranica when the Apollo was closed.

The Valle is a small establishment, where Romans, pure blood, of the middle class, and the nobility who did not hang on to foreigners, were to be found. Giuseppina Gassier, who has since sung in America, was prima-donna there, appearing generally in theSonnambula.

But the Capranica Theatre was the resort for the Romanminenti, decked in all their bravery. Here came the shoemaker, the tailor, and the small artisan, all with their wives or women, and with them the wealthy peasant who had ten cents to pay for entrance. Here the audience wept and laughed, applauded the actors, and talked to each other from one side of the house to the other. Here the plays represented Roman life in the rough, and were full of words and expressions not down in any dictionary or phrase-book; nor in these local displays were forgotten various Roman peculiarities of accentuation of words, and curious intonations of voice. The Roman people indulge in chest-notes, leaving head-notes to the Neapolitans, who certainly do not possess such smoothness of tongue as would classify them among their brethren in the old proverb: 'When the confusion of tongues happened at the building of the Tower of Babel, if the Italian had been there, Nimrod would have made him a plasterer!'

You will do well, if you want to learn from the stage and audience, the Romanplebs, their customs and language, to attend the Capranica Theatre often; to attend it in 'fatigue-dress,' and in gentle mood, being neither shocked nor astonished if a good-looking Roman youth should call your attention to the fact that there is a beautiful girl in the box to the left hand, and inquire if you know whether she is the daughter of Santi Stefoni, the grocer? And should the man on the other side offer you some pumpkin-seeds to eat, by all means accept a few; you can't tell what they may bring forth, if you will only plant them cheerfully.

Do not think it strange if a doctor on the stage recommends conserve of vipers to a consumptive patient; for these poisonous reptiles are caught in large numbers in the mountains back of Rome, and sold to the city apothecaries, who prepare large quantities of them for their customers.

When you see, perhaps the hero of the play, thrown into a paroxysm of anger and fiery wrath by some untoward event, proceed calmly to cut up two lemons, squeeze into a tumbler their juice, and then drink it down—learn that it is a common Roman remedy for anger.

Or if, when a piece of crockery, or other fragile article, may be broken, you notice one of the actors carefully counting the pieces, do not think it is done in order to reconstruct the article, but to guide him in the purchase of a lottery-ticket.

When you notice that on one of his hands the second finger is twined over the first, of the Rightful-heir in presence of the Wrongful-heir, you may know that the first is guarding himself against the Evil Eye supposed to belong to the second.

And—the list could be extended to an indefinite length—you will learn more, by going to the Capranica.

At the Metastasio Theatre there was a French vaudeville company, passably good, attended by a French audience, the majority officers and soldiers. Here were presented such attractive plays asLa Femme qui Mord, or 'The Woman who Bites;'Sullivan, the hero of which getsbien gris, very gray, that is, blue, that is, very tipsy, and at the close, astonishes the audience with the moral: To get tight is human!Dalilah, etc., etc. The French are not very well beloved by the Romans pure and simple; it is not astonishing, therefore, that their language should be laughed at.One morning Rome woke up to find placards all over the city, headed:

A few days afterward appeared a fearful wood-cut, the head of a jackass, with his tongue hanging down several inches, and under it, these words, in Italian: 'The only tongue yet learnt in less than thirty-six lessons!'

Caper, seated one night in the parquette of the Metastasio, had at his side a French infantry soldier. In conversation he asked him:

'How long have you been in Rome?'

'Three years,Mossu.'

'Wouldn't you like to return to France?'

'Not at all.'

'Why not?'

'Wine is cheap, here, tobacco not dear, the ladies are extremely kind:voila tout!'

'You have all these in France.'

'Oui, Mossu!but when I return there I shall be a farmer again; and it's a frightful fact that you may plow your heart out without turning up but a very small quantity of these articles there!'

French soldiers still protect Rome—and 'these articles there.'

'Can you tell me,' said Uncle Bill Browne to Rocjean, with the air of a man about to ask a hard conundrum, 'why beards, long hair, and art, always go together?'

'Of course, art draws out beards along with talent; paints and bristles must go together; but high-art drives the hair of the head in, and clinches it. Among artists first and last there have been men with giant minds, and they have known it was their duty to show their mental power: the beard is the index.'

'But the beard points downward,' suggested Caper, 'and not upward.'

'That depends——'

'Onpomade Hongroise—or beeswax,' interrupted Caper.

'Exactly; but let me answer Uncle Bill. To begin, we may safely assert that an artist's life—here in Rome, for instance—is about as independent a one as society will tolerate; its laws, as to shaving especially, he ignores, and caring very little for the Rules of the Toilette, as duly published by the—bon tonjournals, uses his razor for mending lead-pencils, and permits his beard to enjoy long vacation rambles. Again: those who first set the example of long beards, Leonardo da Vinci, for example, who painted his own portrait with a full beard a foot long, were men who moved from principle, and I have the belief that were Leonardo alive to-day, he would say:

"My son, and well-beloved Rocjean,zitto!and let ME talk. Know, then, that I did permit my beard luxuriant length—for a reason. Thou dost not know, but I do, that among the ancient Egyptians they worshiped in their deity the male and female principle combined; so the exponents of this belief, the Egyptian priests, endeavored in their attire to show a mingling of the male and female sex; they wore long garments like women,vergogna!they wore long hair,guai!and they SHAVED THEIR FACES! It pains me to say, that their indecent example is followed even to this day, by the priests of what should be a purer and better religion.

"Silenzio!I have not yet said my say. Among Eastern nations, their proverbs, and what is better, their customs, show a powerful protest against this impure old faith. You have seen the flowing beards of the Mohammedans, especially the Turks, and their short-shaved heads of hair, and you may have heard of their words of wisdom:

"'Long hair, little brain.'

"And that eloquent sentence:

"'Who has no beard has no authority.'

"They have other sayings, which I can not approve of; for instance:

"'Do not buy a red-haired person, do not sell one, either; if you have any in the house, drive them away.'

"I say I do not approve of this, for the majority of the English have red heads, and people who want to buy my pictures I never would drive out of my house,mai!"

'Come,' said Caper, 'Leonardo no longer speaks when there is a question of buying or selling. Assume the first person.'

'Another excellent reason for artists in Rome to wear beards is, that where their foreign names can not be pronounced, they are often called by the size, color, or shape, of this face-drapery. This is particularly the case in the Café Greco, where the waiters, who have to charge for coffee, etc., when the artist does not happen to have the change about him, are compelled to give him a name on their books, and in more than one instance, I know that they are called from their beards, I have a memorandum of these nicknames: I am calledBarbone, or Big-bearded; and you, Caper, are down asSbarbato Inglese, the Shaved Englishman.'

'Hm!' spoke Caper, 'I an't an Englishman, and I don't shave; my beard has to come yet.'

'What is my name?' asked Uncle Bill.

'Puga Sempre, or He Pays Always. A countryman of mine is calledBaffi Rici, or Big Moustache; another one,Barbetta, Little Beard; another,Barbáccia, Shabby Beard; another,Barba Nera, Black Beard; and, of course, there is aBarba Rossa, or Red Beard. Some of the other names are funny enough, and would by no means please their owners. There isZoppo Francese, the Lame Frenchman;Scapiglione, the Rowdy;Pappagallo, the Parrot;Milordo;Furioso; and one friend of ours is known, whenever he forgets to pay two baiocchi for his coffee, asSan Pietro!'

'Well,' said Uncle Bill, 'I'll tell you why I thought you artists wore long beards: that when you were hard up, and couldn't buy brushes, you might have the material ready to make your own.'

'You're wrong, Uncle,' remarked Caper; 'when we can't buy them, we get trusted for them—that's our way of having a brush with the enemy.'

'That will do, Jim, that will do; say no more. None of the artists' beards here, can compare with one belonging to a buffalo-and-prairie painter who lives out in St. Louis—it is so long he ties the ends together and uses it for a boot-jack. Good-night, boys, good-night!'

Rocjean was finishing his after-dinnerical coffee and cigar, when looking up fromLas Novedades, containing the latest news from Madrid, and in which he had just readen Roma es donde hay mas mendigos, Rome, is where most beggars are found; London, where most engineers, lost women, and rat-terriers, abound; Brussels, where women who smoke, are all round—looking up from this interesting reading, he saw opposite him a young man, whose acquaintance he knew at a glance, was worth making. Refinement, common-sense, and energy were to be read plainly in his face. When he left the café, Rocjean asked an artist, with long hair, who was fast smoking himself to the color of the descendants of Ham, if he knew the man?'

'No-o-oo, I believe he's some kind of a calico-painter.'

'What?'

'Oh! a feller that makes designs for a calico-mill.'

Not long afterward Rocjean was introduced to him, and found him, as first impressions taught him he would—a man well worth knowing. Ho was making a holiday-visit to Rome, his settled residence being in Paris, where his occupation was designer of patterns for a large calico-mill in the United States. A New-Yorker by birth, consequently more of a cosmopolitan than the provincial life of our other American cities will tolerate or can create in their children, Charles Gordon was every inch a man,and a bitter foe to every liar and thief. He was well informed, for he had, as a boy, been solidly instructed; he was polite, refined, for he had been well educated. His life was a story often told: mercantile parent, very wealthy; son sent to college; talent for art, developed at the expense of trigonometry and morning-prayers; mercantile parent fails, and falls from Fifth avenue to Brooklyn, preparatory to embarking for the land of those who have failed and fallen—wherever that is. Son wears long hair, and believes he looks like the painter who was killed by a baker's daughter, writes trashy verses about a man who was wronged, and went off and howled himself to a long repose, sick of this vale of tears, et cetera. Finally, in the midst of his despair, long hair, bad poetry and painting, an enterprising friend, who sees he has an eye for color, its harmonies and contrasts, raises him with a strong hand into the clear atmosphere of exertion for a useful and definite end—makes him a 'calico-painter.'

It was a great scandal for the Bohemians of art to find this calico-painter received every where in refined and intelligent society, while they, with all their airs, long hairs, and shares of impudence, could not enter—they, the creators of Medoras, Magdalens, Our Ladies of Lorette, Brigands' Brides, Madame not In, Captive Knights, Mandoline Players, Grecian Mothers, Love in Repose, Love in Sadness, Moonlight on the Waves, Last Tears, Resignation, Broken Lutes, Dutch Flutes, and other mock-sentimental-titled paintings.

'God save me from being a gazelle!' said the monkey.

'God save us from being utility calico-painters!' cried the high-minded, dirty cavaliers who were not cavaliers, as they once more rolled over in their smoke-house.

'In 1854,' said Gordon, one day, to Rocjean, after their acquaintance had ripened into friendship, 'I was indeed in sad circumstances, and was passing through a phase of life when bad tobacco, acting on an empty stomach, gave me a glimpse of the Land of the Grumblers. One long year, and all that was changed; then I woke up to reality and practical life in a 'Calico-Mill;' then I wrote the lines you have asked me about. Take them for what they are worth.

'He sat in a garret in Fifty-four,To welcome Fifty-five.'God knows,' said he, 'if another yearWill find this man alive.I was born for love, I live in song,Yet loveless and songless I'm passing along,And the world?—Hurrah!Great soul, sing on!'He sat in the dark, in Fifty-four,To welcome Fifty-five.'God knows,' said he, 'if another yearI'll any better thrive.I was born for light, I live in the sun,Yet in, darkness, and sunless, I'm passing on,And the world?—Hurrah!Great soul, shine on!''He sat in the cold, in Fifty-four,To welcome Fifty-five.'God knows,' said he, 'I'm fond of fire,From warmth great joy derive.I was born warm-hearted, and oh! it's wrongFor them all to coldly pass along:And the world?—Hurrah!Great soul, burn on!''He sat in a home, in Fifty-five,To welcome Fifty-six.'Throw open the doors!' he cried aloud,'To all whom Fortune kicks!I was born for love, I was born for song,And great-hearted MEN my halls shall throng.And the world?—Hurrah!Great soul, sing on!''He sat in bright light, in Fifty-five,To welcome Fifty-six.'More lights!' he cried out with joyous shout,'Night ne'er with day should mix.I was born for light, I live in the sun,In the joy of others my life's begun.And the world?—Hurrah!Great soul, shine on!''He sat in great warmth, in Fifty-five,To welcome Fifty-six,In a glad and merry companyOf brave, true-hearted Bricks!'I was born for warmth, I was born for love,I've found them all, thank GOD above!And the world?—Ah! bah!Great soul, move on!''

'He sat in the dark, in Fifty-four,To welcome Fifty-five.'God knows,' said he, 'if another yearI'll any better thrive.I was born for light, I live in the sun,Yet in, darkness, and sunless, I'm passing on,And the world?—Hurrah!Great soul, shine on!'

'He sat in the cold, in Fifty-four,To welcome Fifty-five.'God knows,' said he, 'I'm fond of fire,From warmth great joy derive.I was born warm-hearted, and oh! it's wrongFor them all to coldly pass along:And the world?—Hurrah!Great soul, burn on!'

'He sat in a home, in Fifty-five,To welcome Fifty-six.'Throw open the doors!' he cried aloud,'To all whom Fortune kicks!I was born for love, I was born for song,And great-hearted MEN my halls shall throng.And the world?—Hurrah!Great soul, sing on!'

'He sat in bright light, in Fifty-five,To welcome Fifty-six.'More lights!' he cried out with joyous shout,'Night ne'er with day should mix.I was born for light, I live in the sun,In the joy of others my life's begun.And the world?—Hurrah!Great soul, shine on!'

'He sat in great warmth, in Fifty-five,To welcome Fifty-six,In a glad and merry companyOf brave, true-hearted Bricks!'I was born for warmth, I was born for love,I've found them all, thank GOD above!And the world?—Ah! bah!Great soul, move on!''

The Roman season was nearly over: travelers were making preparations to fly out of one gate as the Malaria should enter by the other; for, according to popular report, this fearful disease enters, the last day of April, at midnight, and is in full possession of the city on the first day of May. Rocjean, not having any fears of it, was preparing not only to meet it, but to go out and spend the summer with it; it costs something, however, to keep company with La Malaria, and our artist had but little money: he must sell some paintings. Now it was unfortunate for him that though a good painter, he was a bad salesman; he never kept a list of all the arrivals of his wealthy countrymen or other strangers who bought paintings; he never ran after them, laid them under obligations with drinks, dinners, and drives; for he had neither the inclination nor that capital which is so important for a picture-merchant to possess in order to drive—a heavy trade, and achieve success—such as it is. Rocjean had friends, and warm ones; so that whenever they judged his finances were in an embarrassed state, they voluntarily sent wealthy sensible as well as wealthy insensible patrons of art to his aid, the latter going as Dutch galliots laden with doubloons might go to the relief of a poor, graceful felucca, thrown on her beam-ends by a squall.

One morning there glowed in Rocjean's studio the portly forms of Mr. and Mrs. Cyrus Shodd, together with the tall, fragile figure of Miss Tillie Shodd, daughter and heiress apparent and transparent. Rocjean welcomed them as he would have manna in the desert, for he judged by the air and manner of the head of the family, that he was on picture-buying bent. He even gayly smiled when Miss Shodd, pointing out to her father, with her parasol, some beauty in a painting on the easel, run its point along the canvas, causing a green streak from the top of a stone pine to extend from the tree same miles into the distant mountains of the Abruzzi-the paint was not dry!

She made several hysterical shouts of horror after committing this little act, and then seating herself in an arm-chair, proceeded to take a mental inventory of the articles of furniture in the studio.

Mr. Shodd explained to Rocjean that he was a plain man:

This was apparent at sight.

That he was an uneducated man:

This asserted itself to the eyes and ears.

After which self-denial, he commenced 'pumping' the artist on various subjects, assuming an ignorance of things which, to a casual observer, made him appear like a fool; to a thoughtful person, a knave: the whole done in order, perhaps, to learn about some trifle which a plain, straightforward question would have elicited at once. Rocjean saw his man, and led him a fearful gallop in order to thoroughly examine his action and style.

Spite of his commercial life, Mr. Shodd had found time to 'self-educate' himself—he meant self-instruct—and having a retentive memory, and a not always strict regard for truth, was looked up to by the humble-ignorant as a very columbiad in argument, the only fault to be found with which gun was, that when it was drawn from its quiescent state into action, its effective force was comparatively nothing, one half the charge escaping through the large touch-hole of untruth. Discipline was entirely wanting in Mr. Shodd's composition. A man who undertakes to be his own teacher rarely punishes his scholar, rarely checks him with rules and practice, or accustoms him to order and subordination. Mr. Shodd, therefore, was—undisciplined: a raw recruit, not a soldier.

Of course, his conversation was all contradictory. In one breath, on the self-abnegation principle, he would say, 'I don't know any thing about paintings;' in the next breath, his overweening egotism would make him loudlyproclaim: 'There never was but one painter in this world, and his name is Hockskins; he lives in my town, and he knows more than any of your 'old masters'!Iought to know!' Or, 'Iam an uneducated man,' meaning uninstructed; immediately following it with the assertion: 'All teachers, scholars, and colleges are useless folly, and all education is worthless, except self-education.'

Unfortunately, self-education is too often only education of self!

After carefully examining all Rocjean's pictures, he settled his attention on a sunset view over the Campagna, leaving Mrs. Shodd to talk with our artist. You have seen—all have seen—more than one Mrs. Shodd; by nature and innate refinement, ladies; (the 'Little Dorrits' Dickens shows to his beloved countrymen, to prove to them that not all nobility is nobly born—a very mild lesson, which they refuse to regard;) Mrs. Shodds who, married to Mr. Shodds, pass a life of silent protest against brutal words and boorish actions. With but few opportunities to add acquirable graces to natural ease and self-possession, there was that in her kindly tone of voice and gentle manner winning the heart of a gentleman to respect her as he would his mother. It was her mission to atone for her husband's sins, and she fulfilled her duty; more could not be asked of her, for his sins were many. The daughter was a copy of the father, in crinoline; taking to affectation—which is vulgarity in its most offensive form—as a duck takes to water. Even her dress was marked, not by that neatness which shows refinement, but by precision, which in dress is vulgar. One glance, and you saw the woman who in another age would have thrown her glove to the tiger for her lover to pick up!

Among Rocjean's paintings was the portrait of a very beautiful woman, made by him years before, when he first became an artist, and long before he had been induced to abandon portrait-painting for landscape. It was never shown to studio-visitors, and was placed with its face against the wall, behind other paintings. In moving one of these to place it in a good light on the easel, it fell with the others to the floor, face uppermost; and while Rocjean, with a painting in his hands, could not stoop at once to replace it, Miss Shodd's sharp eyes discovered the beautiful face, and, her curiosity being excited, nothing would do but it must be placed on the easel. Unwilling to refuse a request from the daughter of a Patron of Art in perspective, Rocjean complied, and, when the portrait was placed, glancing toward Mrs. Shodd, had the satisfaction of reading in her eyes true admiration for the startlingly lovely face looking out so womanly from the canvas.

'Hm!' said Shodd the father, 'quite a fancy head.'

'Oh! it is an exact portrait of Julia Ting; if she had sat for her likeness, it couldn't have been better. I must have the painting, pa, for Julia's sake. Imust. It's a naughty word, isn't it, Mr. Rocjean? but it is so expressive!'

'Unfortunately, the portrait is not for sale; I placed it on the easel only in order not to refuse your request.'

Mr. Shodd saw the road open to an argument. He was in ecstasy; a long argument—an argument full of churlish flings and boorish slurs, which he fondly believed passed for polished satire and keen irony. He did not know Rocjean; he never could know a man like him; he never could learn the truth that confidence will overpower strength; only at last, when through his hide and bristles entered the flashing steel, did he, tottering backwards, open his eyes to the fact that he had found his master—that, too, in a poor devil of an artist.

The landscapes were all thrown aside; Shodd must have that portrait. His daughter had set her heart on having it, he said, and could a gentleman refuse a lady any thing?

'It is on this very account I refuse to part with it,' answered Rocjean.

It instantly penetrated Shodd's head that all this refusal was only design onthe part of the artist, to obtain a higher price for the work than he could otherwise hope for; and so, with what he believed was a master-stroke of policy, he at once ceased importuning the artist, and shortly departed from the studio, preceding his wife with his daughter on his arm, leaving the consoler, and by all means his best half, to atone, by a few kind words at parting with the artist, for her husband's sins.

'And there,' thought Rocjean, as the door closed, 'goes 'a patron of art'—and by no means the worst pattern. I hope he will meet with Chapin, and buy an Orphan and an Enterprise statue; once in his house, they will prove to every observant man the owner's taste.'

Mr. Shodd, having a point to gain, went about it with elephantine grace and dexterity. The portrait he had seen at Rocjean's studio he was determined to have. He invited the artist to dine with him—the artist sent his regrets; to accompany him, 'with the ladies,' in his carriage to Tivoli—the artist politely declined the invitation; to aconversazione, the invitation from Mrs. Shodd—a previous engagement prevented the artist's acceptance.

Mr. Shodd changed his tactics. He discovered at his banker's one day a keen, communicative, wiry, shrewd, etc., etc., enterprising, etc., 'made a hundred thousand dollars' sort of a little man, named Briggs, who was traveling in order to travel, and grumble. Mr. Shodd 'came the ignorant game' over this Briggs; pumped him, without obtaining any information, and finally turned the conversation on artists, denouncing the entire body as a set of the keenest swindlers, and citing the instance of one he knew who had a painting which he believed it would be impossible for any man to buy, simply because the artist, knowing that he (Shodd) wished it, would not set a price on it, so as to have a very high one offered (!) Mr. Briggs instantly was deeply interested. Here was a chance for him to display before Shodd of Shoddsville his shrewdness, keenness, and so forth. He volunteered to buy the painting.

In Rome, an artist's studio may be his castle, or it may be an Exchange. To have it the first, you must affix a notice to your studio-door announcing that all entrance of visitors to the studio is forbidden except on, say, 'Monday from twelve A.M. to three P.M. This is the baronial manner. But the artist who is not wealthy or has not made a name, must keep an Exchange, and receive all visitors who choose to come, at almost any hours—model hours excepted. So Briggs, learning from Shodd, by careful cross-questioning, the artist's name, address, and a description of the painting, walked there at once, introduced himself to Rocjean, shook his hand as if it were the handle of a pump upon which he had serious intentions, and then began examining the paintings. He looked at them all, but there was no portrait. He asked Rocjean if he painted portraits; he found out that he did not. Finally, he told the artist that he had heard some one say—he did not remember who—that he had seen a very pretty head in his studio, and asked Rocjean if he would show it to him.

'You have seen Mr. Shodd lately, I should think?' said the artist, looking into the eyes of Mr. Briggs.

A suggestion of a clean brick-bat passed under a sheet of yellow tissue-paper was observable in the hard cheeks of Mr. Briggs, that being the final remnant of all appearance of modesty left in the sharp man, in the shape of a blush.

'Oh! yes; every body knows Shodd—man of great talent—generous,' said Briggs.

'Mr. Shodd may be very well known,' remarked Rocjean measuredly, 'but the portrait he saw is not well known; he and his family are the only ones who have seen it. Perhaps it may save you trouble to know that the portrait I have several times refused to sell him will never be sold while I live. Thecommonopinion that an artist, like a Jew, will sell the old clo' from his back for money, is erroneous.'

Mr. Briggs shortly after this left the studio, slightly at a discount, and as if he had been measured, as he said tohimself; and then and there determined to say nothing to Shodd about his failing in his mission to the savage artist. But Shodd found it all out in the first conversation he made with Briggs; and very bitter were his feelings when he learnt that a poor devil of an artist dared possess any thing he could not buy, and moreover had a quiet moral strength which the vulgar man feared. In his anger, Shodd, with his disregard for truth, commenced a fearful series of attacks against the artist, regaling every one he dared to with the coarsest slanders, in the vilest language, against the painter's character. A very few days sufficed to circulate them, so that they reached Rocjean's ears; a very few minutes passed before the artist presented himself to the eyes of Shodd, and, fortunately finding him alone, told him in four words, 'You are a slanderer;' mentioning to him, beside, that if he ever uttered another slander against his name, he should compel him to give him instantaneous satisfaction, and that, as an American, Shodd knew what that meant.

It is needless to say that a liar and slanderer is a coward; consequently Mr. Shodd, with the consequences before his eyes, never again alluded to Rocjean, and shortly left the city for Naples, to bestow the light of his countenance there in his great character of Art Patron.

'It is a heart-touching face,' said Caper, as one morning, while hauling over his paintings, Rocjean brought the portrait to light which the cunning Shodd had so longed to possess for cupidity's sake.

'I should feel as if I had thrown Psyche to the Gnomes to be torn to pieces, if I had given such a face to Shodd. If I had sold it to him, I should have been degraded; for the women loved by man should be kept sacred in memory. She was a girl I knew in Prague, and, I think, with six or eight exceptions, the loveliest one I ever met. Some night, at sunset, I shall walk over the old bridge, and meet her as we parted;aproposof which meeting, I once wrote some words. Hand me that portfolio, will you? Thank you. Oh! yes; here they are. Now, read them, Caper; out with them!

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