Chapter III: High Art (4)

"But what shall I do when Mrs. Rayne and my sister-in-law are comparing notes about the perfections of their husbands?"

"Walk on the verandah with me and convert me to woman suffrage."

Mr. Rayne had his barouche waiting on shore, and drove us first to the bandstand, where, in the coolness of sunset, all the Bombay world meet to see and to be seen. When the band paused, people drove slowly round the circle, seeking acquaintance. Among them one equipage was perfect--a small basket-phaeton, and two black ponies groomed within an inch of their lives. My eyes fell on the ponies first, but I saw them no more when the lady who drove them turned her face toward me.

She wore a close-fitting black velvet habit and a little round hat with long black feather. Her hair might have been black velvet, too, as it fell low on her forehead, and was fastened somehow behind in a heavy coil. Black brows and lashes shaded clear gray eyes--the softest gray, without the least tint of green in them--such eyes as Quaker maidens ought to have under their gray bonnets. Little rose colored flushes kept coming and going in her cheeks as she talked.

All at once I thought of Queen Guinevere,

As she fled fast thro' sun and shade,
With jingling bridle-reins.

"Mr. Rayne, do you see that lady in black, with the ponies?"

"Plainly."

"If I were a man, that woman would be my Fate."

"I thought women never admired each other's beauty."

"You are mistaken. Heretofore I have met beautiful women only in poetry. Do you remember four lines about Queen Guinevere?--no, six lines, I mean:

"She looked so lovely as she swayed
The rein with dainty finger-tips,
A man had given all other bliss,
And all his worldly worth for this,
To waste his whole heart in one kiss
Upon her perfect lips.

"I always thought them overstrained till now."

"I perfectly agree with you," said Mr. Rayne: "I knew we were congenial spirits." Then he said a word or two in a diabolical language to his groom, who ran to the carriage which I had been watching and repeated it to the lady: she bowed and smiled to Mr. Rayne, and soon drew up her ponies beside us.

"My wife," said Mr. Rayne with laughter in his eyes.

Mrs. Rayne talked much like other people, and her beauty ceased to dazzle me after a few minutes; not that it grew less on near view, but, being a woman, I could not fall in love with her in the nature of things.

When the music stopped we drove to Mr. Rayne's house, his wife keeping easily beside us. When she was occupied with the others Mr. Rayne whispered, "Her praises were so sweet in my ears that I would not own myself Sir Lancelot at once."

"If you are Sir Lancelot," I said, "where is King Arthur?"

"Forty fathoms deep, I hope," said Mr. Rayne with a sudden change in his voice and a darkening face. I had raised a ghost for him without knowing it, and he spoke no more till we reached the house.

It was a long, low, spreading structure with a thatched roof, and a verandah round it. A wilderness of tropical plants hemmed it in. But all appearance of simplicity vanished on our entrance. In the matted hall stood a tree to receive the light coverings we had worn; not a "hat tree," as we say at home by poetic license, but the counterfeit presentment of a real tree, carved in branches and delicate foliage out of black wood. The drawing-room was eight-sided, and would have held, with some margin, the gambrel-roofed house, chimneys and all, in which I had spent my life. Two sides were open into other rooms, with Corinthian pillars reaching to the roof. Carved screens a little higher than our heads filled the space between the pillars, and separated the drawing-room from Mrs. Rayne's boudoir on the side and the dining-room on the other.

The furniture of these rooms was like so many verses of a poem. Every chair and table had been designed by Mrs. Rayne, and then realized in black wood by the patient hands of natives.

Another side opened by three glass doors on a verandah, and only a few rods below the house the sea dashed against a beach.

After dinner I sat on the verandah drinking coffee and the sea-breeze by turns. The gentlemen walked up and down smoking the pipe of peace, while Mrs. Rayne sat within, talking with Rhoda in the candlelight. Opposite me, as I looked in at the open door, hung two Madonnas, the Sistine and the Virgin of the Immaculate Conception. In front of each stood a tall flower-stand carved to imitate the leaves and blossoms of the calla lily. These black flowers held great bunches of the Annunciation lily, sacred to the Virgin through all the ages. Mrs. Rayne had taken off the close-buttoned jacket, and her dress was now open at the throat, with some rich old lace clinging about it and fastened with a pearl daisy.

"Have you forgiven me the minute's deception I put upon you?" said Mr. Rayne, pausing beside me. "If I had not read admiration in your face, I would have told you the truth at once."

"How could one help admiring her?"

"I don't know, I'm sure: I never could."

"She has the serenest face, like still, shaded water. I wonder how she would look in trouble?"

"It is not becoming to her."

"Are you sure?"

"Quite."

"Your way of life here seems so perfect! No hurry nor worry--nothing to make wrinkles."

"You like this smooth Indian living, then?"

"_Like it_! I hope you won't think me wholly given over to love of things that perish in the using, but if I could live this sort of life with the one I liked best, heaven would be a superfluity."

"It is heaven indeed when I think of the purgatory from which we came into it," said Mr. Rayne, throwing away his cigar and carrying off my coffee-cup.

"Do you know anything of Mrs. Rayne's history before her marriage?" I said to Frank as I joined him in his walk.

"Nothing to speak of--only she was a widow."

"Oh!" said I, feeling that a spot or two had suddenly appeared on the face of the sun.

"That's nothing against her, is it?"

"No, but I have no patience with second marriages."

"Nor first ones, either," said Frank wickedly.

"But seriously, Frank--would you like to have a wife so beautiful as Mrs. Rayne?"

"Yes, if she had Rhoda's soul inside of her," said Frank stoutly.

"I shouldn't."

"Why not?"

"Because all sorts of eyes gloat on her beauty and drink it in, and in one way appropriate it to themselves. Mr. Rayne is as proud of the admiration given to his wife as if it were a personal tribute to his own taste in selecting her. A beautiful woman never really and truly belongs to her husband unless he can keep a veil over her face, as the Turks do."

"I knew you had 'views,'" said Mr. Rayne behind me, "but I had no idea they were so heathenish. What is New England coming to under the new rule? Are the plain women going to shut up all the handsome ones?"

"I was only supposing a case."

"Suppositions are dangerous. You first endure, then dally with them, and finally embrace them as established facts."

"I was only saying that if I am a man when I come into the world next time (as the Hindoos say), I shall marry a plain woman with a charming disposition, and so, as it were, have my diamond all to myself by reason of its dull cover."

"Jealousy, thy name is woman!" said Mr. Rayne. "When the Woman's Republic is set up, how I shall pity the handsome ones!"

"They will all be banished to some desert island," said Frank.

"And draw all men after them, as the 'Pied Piper of Hamelin' did the rats," said Mr. Rayne.

"What are you talking about?" said Mrs. Rayne, joining us at this point.

"The pity of it," said her husband, "that beauty is only skin deep."

"That is deep enough," said Mrs. Rayne.

"Yes, if age and sickness and trouble did not make one shed it so soon," said I ungratefully.

"Don't mention it," said Mrs. Rayne--"'tis bad enough when it comes. Do you remember that Greek woman in _Lothair,_ whose father was so fearfully rich that she seemed to be all crusted with precious stones?"

"Perfectly."

"To dance and sing was all she lived for, and Lothair must needs bring in the skeleton, as you did, by reminding her of the dolorous time when she would neither dance nor sing. You think she is crushed, to be sure, only Disraeli's characters never are crushed, any more than himself. 'Oh then,' she says, 'we will be part of the audience, and other people will dance and sing for us.' So beauty is always with us, though one person loses it."

She gave a little shrug of her shoulders, which made her pearls and velvet shimmer in the moonlight. She looked so white and cool and perfect, so apart from common clay, that all at once Queen Guinevere ceased to be my type of her, and I thought of "Lilith, first wife of Adam," as we see her in Rossetti's fanciful poem:

Not a drop of her blood was human,
But she was made like a soft, sweet woman.

We all went to our rooms after this, and in each of ours hung a full-length swinging mirror; I had never seen one before, except in a picture-shop or in a hotel.

"Truly this is 'richness'!" I said, walking up and down and sideways from one to the other.

"I had no idea you had so much vanity," said Frank, laughing at me, as he has done ever since he was born.

"Vanity! not a spark. I am only seeing myself as others see me, for the first time."

"I always had a glass like that in my room at home," said my sister-in-law, with the least morsel of disdain in her tone.

"Had you? Then you have lost a great deal by growing up to such things. A first sensation at my age is delightful."

Next day Rhoda and I were sitting with Mrs. Rayne in her dressing-room, with a great fan swinging overhead. We all had books in our hands, but I found more charming reading in my hostess, whose fascinations hourly grew upon me.

She wore a long loose wrapper, clear blue in color, with little silver stars on it. I don't know how much of my admiration sprang from her perfect taste in dress. Raiment has an extraordinary effect on the whole machinery of life. Most people think too lightly of it. Somebody says if Cleopatra's nose had been a quarter of an inch shorter, the history of the world would have been utterly changed; but Antony might equally have been proof against a robe with high neck and tight sleeves. Mrs. Rayne's face always seemed to crown her costume like a rose out of green leaves, yet I cannot but think that if I had seen her first in a calico gown and sitting on a three-legged stool milking a cow, I should still have thought her a queen among women.

While I sat like a lotos-eater, forgetful of home and butter-making, a servant brought in a parcel and a note. Mrs. Rayne tossed the note to me while she unfolded a roll of gray silk.

Dear Guinevere: I send with this a bit of silk that old Fut'ali insisted on giving to me this morning. It is that horrid gray color which we both detest. I know you will never wear it, and you had better give it to Miss Blake to make a toga for her first appearance in the women's Senate. LANCELOT.

"With all my heart!" said Mrs. Rayne as I gave back the note. "You will please us both far more than you can please yourself by wearing the dress with a thought of us. I wonder why Mr. Rayne calls me 'Guinevere'? But he has a new name for me every day, because he does not like my own."

"What is it?"

"Waitstill. Did you ever hear it?"

"Never but once," I said with a sudden tightness in my throat. I could scarcely speak my thanks for the dress.

"I should never wear it," said Mrs. Rayne: "the color is associated with a very painful part of my life."

"Do you suppose water would spot it?" asked Rhoda, who is of a practical turn of mind.

"Take a bit and try it."

"Water spots some grays" said Mrs. Rayne with a strange sort of smile as Rhoda went out, "especially salt water. I spent one night at sea in an open boat, with a gray dress clinging wet and salt to my limbs. When I tore it off in rags I seemed to shed all the misery I had ever known. All my life since then has been bright as you see it now. It would be a bad omen to put on a gray gown again."

"Then you have made a sea-voyage, Mrs. Rayne?"

"Yes, such a long voyage!--worse than the 'Ancient Mariner's.' No words can tell how I hate the sea." She sighed deeply, with a sudden darkening of her gray eyes till they were almost black, and grasped one wrist hard with the other hand.

A sudden trembling seized me. I was almost as much agitated as Mrs. Rayne. I felt that I must clinch the matter somehow, but I took refuge in a platitude to gain time: "There is such a difference in ships, almost as much as in houses, and the comfort of the voyage depends greatly on that."

"It may be so," she said wearily.

"My brother's ship is old, but it has been refitted lately to something like comfort. It's old name was the Sapphire."

This was my shot, and it hit hard.

"The Sapphire! the Sapphire!" she whispered with dilated eyes. "Did you ever hear--did you ever find--But what nonsense! You must think me the absurdest of women."

The color came back to her face, and she laughed quite naturally.

"The fact is, Miss Blake, I was very ill and miserable when I was on shipboard, and to this day any sudden reminder of it gives me a shock.--Did water spot it?" she said to Rhoda, who came in at this point.

I thought over all the threads of the circumstance that had come into my hand, and like Mr. Browning's lover I found "a thing to do."

The next morning I made an excuse to go down to the ship with my brother, and there, by dint of pressure, I got those stained and dingy papers into my possession again. I had only that day before me, for we were going to a hotel the same evening, and the Raynes were to set out next day for their summer place among the hills, a long way back of Bombay. Our stay had already delayed their departure.

This was my plot: Mrs. Rayne had been reading a book that I had bought for the home-voyage, and was to finish it before evening. I selected the duplicate of the paper which "Waitstill Atwood Eliot" had put in a bottle and cast adrift when her case had been desperate, and laid it in the book a page or two beyond Mrs. Rayne's mark. It seemed impossible that she could miss it: I watched her as a chemist watches his first experiment.

Twice she took up the book, and was interrupted before she could open it: the third time she sat down so close to me that the folds of her dress touched mine. One page, two pages: in another instant she would have turned the leaf, and I held my breath, when a servant brought in a note. Her most intimate friend had been thrown from her carriage, and had sent for her. It was a matter of life and death, and brooked no delay. In ten minutes she had bidden us a cordial good-bye, and dropped out of my life for all time.

She never finished _my_ book, nor I _hers_. I had had it in my heart, in return for her warm hospitality, to cast a great stone out of her past life into the still waters of her present, and her good angel had turned it aside just before it reached her. I might have asked Mr. Rayne in so many words if his wife's name had been Waitstill Atwood Eliot when he married her, but that would have savored of treachery to her, and I refrained.

Often in the long calm days of the home-voyage, and oftener still in the night-watches, I pondered in my heart the items of Mrs. Rayne's history, and pieced them together like bits of mosaic--the gray eyes and the gray dress, the identity of name, the indefinite terrors of her sea-voyage, the little touch concerning Lancelot and Guinevere, her emotion when I mentioned the Sapphire. If circumstantial evidence can be trusted, I feel certain that Pedro's ghost appeared to me in the flesh.

ELLA WILLIAMS THOMPSON.

REMINISCENCES OF FLORENCE.

I had six months more to stay on the Continent, and I began for the first time to be discontented in Paris. There was no soul in that great city whom I had ever seen before, but this alone would hot have been sufficient to make me long for a change, except for an accident which unluckily surrounded me with my own countrymen. These I did not go abroad to see; and having lived almost entirely in the society of the French for over two years, it was with dismay that I saw my sanctum invaded daily by twos and threes of the aimless American nonentities who presume that their presence must be agreeable to any of their countrymen, and especially to any countrywoman, after a chance introduction on the boulevard or an hour spent together in a café.

"Seeing these things," I determined to leave Paris, and the third day after found me traveling through picturesque Savoy toward Mont Cenis. All the afternoon the rugged hills had been growing higher and whiter with snow, and now, just before sunset, we reached the railway terminus, St. Michel, and were under the shadow of the Alps themselves.

The previous night in the cars I had found myself the only woman among some half dozen French military officers, who paid me the most polite attention. They were charmed that I made no objection to their cigarettes, talked with me on various topics, criticised McClellan as a general, and were enthusiastic on the subject of our country generally. About midnight they prepared a grand repast from their traveling-bags, to which they gave me a cordial invitation. I begged to contribute my _mesquin_ supply of grapes and brioches, and the supper was a considerable event. Their canteens were filled with red wines, and one cup served the whole company. They drank my health and that of the President of the United States. Afterward we had vocal music, two of the officers being good singers. They sang Beranger's songs and the charming serenade from _Lalla Rookh_. I finally expressed a desire to hear the Marseillaise. This seemed to take them by surprise, but one of the singers, declaring that he had _"rien à refuser à madame"_ boldly struck up,

Allons, enfants de la patrie,
Le jour de gloire est arrivé;

but his companions checked him before he had finished the first stanza. The law forbade, they said, the production of the Marseillaise in society. We were a society: the guard would hear us and might report it.

"Vous voyez, madame," said the singer, "n'il n'est pas défendu d'être voleur, mais c'est défendu d'être attrapé" (It is not against the law to be a thief, but to be caught.)

My traveling--companions reached their destination early in the morning, and, very gallantly expressing regrets that they were not going over the Alps, so as to bear mer company, bade me farewell.

From the rear of the St. Michel hotel, called the Lion d'Or, I watched the preparations for crossing Mont Cenis. Three diligences were being crazily loaded with our baggage. The men who loaded them seemed imitating the Alpine structure. They piled trunk on trunk to the height of thirty feet, I verily believe; and if some one should nudge my elbow and say "fifty," I should write it down so without manifesting the least surprise.

When the preparations were finished the setting sun was shining clearly on the white summits above, and we commenced slowly winding up the noble zigzag road. Rude mountain children kept up with our diligences, asked for sous and wished us _bon voyage_ in the name of the Virgin.

The grandeur, but especially the extent and number, of the Alpine peaks impressed me with a vague, undefinable sense, which was not, I think, the anticipated sensation; and indeed if I had been in a poetic mood, it would have been quickly dissipated by the mock raptures of a young Englishman with a poodly moustache and an eye-glass. He called our attention to every chasm, gorge and waterfall, as if we had been wholly incapable of seeing or appreciating anything without his aid. As for me, I did not feel like disputing his susceptibility. I was suffering an uneasy apprehension of an avalanche--not of snow, but of trunks and boxes from the topheavy diligences ahead of us. However, we reached the top of Mont Cenis safely by means of thirteen mules to each coach, attached tandem, and we stopped at the queer relay-house there some thirty minutes. Here some women in the garb of nuns served me some soup with grated cheese, a compound which suggested a dishcloth in flavor, yet it was very good. I will not attempt to reconcile the two statements. After the soup I went out to see the Alps. The ecstatic Briton was still eating and drinking, and I could enjoy the scene unmolested. I crossed a little bridge near the inn. The night was cold and bright. Hundreds of snowy peaks above, below and in every direction, some of their hoary heads lost in the clouds, were glistening in the light of a clear September moon, and the stillness was only broken by a wild stream tumbling down the precipices which I looked up to as I crossed the bridge. It was indeed an impressive scene--cold, desolate, awful. I walked so near the freezing cataract that the icicles touched my face, and thinking that Dante, when he wrote his description of hell, might have been inspired by this very scene, I wrapped my cloak closer about me and went back to the inn.

The diligences were ready, and we commenced a descent which I cannot even now think of without a shudder. To each of those heavily-laden stages were attached two horses only, and we bounded down the mountain-side like a huge loosened boulder. Imagine the sensation as you looked out of the windows and saw yourself whirling over yawning chasms and along the brinks of dizzy precipices, fully convinced that the driver was drunk and the horses goaded to madness by Alpine demons! I have been on the ocean in a storm sufficiently severe to make Jew and Christian pray amicably together; I have been set on fire by a fluid lamp, and have been dragged under the water by a drowning friend, but I think I never had such an alarming sense of coming destruction as in that diligence. I think of those sure-footed horses even now with gratitude.

We arrived at Susa a long time before daylight. At first, I decided to stay and see this town, which was founded by a Roman colony in the time of Augustus. The arch built in his honor about eight years before Christ seemed a thing worth going to see; but a remark from my companion with the eye-glass made me determine to go on. He said he was going to "do" the arch, and I knew I should not be equal to witnessing any more of his ecstasies.

My first astonishment in Italy was that hardly any of the railroad officials spoke French. I had always been told that with that language at your command you could travel all over the Continent. This is a grave error: even in Florence, although "Ici on parle français" is conspicuous in many shop-windows, I found I had to speak Italian or go unserved. I had a mortal dread of murdering the beautiful Italian language; so I wanted to speak it well before I commenced, like the Irishman who never could get his boots on until he had worn them a week.

I stopped at Turin, then the capital of Italy, only a short time, and hurried on to Florence, for that was to be my home for the winter. It was delightful to come down from the Alpine snows and find myself face to face with roses and orange trees bearing fruit and blossom. Here I wandered through the olive-gardens alone, and gave way to the rapturous sense of simply being in the land of art and romance, the land of love and song; for there was no ecstatic person with me armed with _Murray_ and prepared to admire anything recommended therein. Besides, I could enjoy Italy for days and months, and therefore was not obliged to "do" (detestable tourist slang!) anything in a given time. I was free as a bird. I knew no Americans in Florence, and determined to studiously avoid making acquaintances except among Italians, for I wished to learn the language as I had learned French, by constantly speaking it and no other.

The day following my arrival in Florence I went out to look for lodgings, which I had the good fortune to find immediately. I secured the first I looked at. They were in the Borgo SS. Apostoli, in close proximity to the Piazza del Granduca, now Delia Signoria. I was passing this square, thinking of my good luck in finding my niche for the winter, when, much to my surprise, some one accosted me in English. Think of my dismay at seeing one of the irrepressible Paris bores I had fled from! He was in Florence before me, having come by a different route; and neither of us had known anything about the other's intention to quit Paris. He asked me at once where I was stopping, and I told him at the Hotel a la Fontana, not deeming it necessary to add that I was then on my way there to pack up my traveling-bag and pay my bill. As he was "doing" Florence in about three days, he never found me out. The next I heard of him he was "doing" Rome. This American prided himself on his knowledge of Italian; and one day in a restaurant, wishing for cauliflower _(cavolo fiore)_, he astonished the waiter by calling for _horse. "Cavallo"!_ he roared--"_Portéz me cavallo!_" "Cavallo!" repeated the waiter, with the characteristic Italian shrug. "_Non simangia in Italia, signore_" (It is not eaten in Italy, signore). Then followed more execrable Italian, and the waiter brought him something which elicited "_Non volo! non volo!_" (I don't fly! I don't fly!) from the American, and "_Lo credo, signore_" from the baffled waiter, much to the amusement of people at the adjacent tables.

I liked my new quarters very much. They consisted of two goodly-sized rooms, carpeted with thick braided rag carpets, and decently furnished, olive oil provided for the quaint old classic-shaped lamp, and the rooms kept in order, for the astounding price of thirty francs a month. Wood I had to pay extra for when I needed a fire, and that indeed was expensive; for a bundle only sufficient to make a fire cost a franc. There were few days, however, even in that exceptional winter, which rendered a fire necessary. The _scaldino_ for the feet was generally sufficient, and this, replenished three times a day, was included in the rent.

One of my windows looked out on olive-gardens and on the old church San Miniato, on the hill of the same name. Mr. Hart, the sculptor, told me that those rooms were very familiar to him. Buchanan Read, I think he said, had occupied them, and the walls in many places bore traces of artist vagaries. There were several nice caricatures penciled among the cheap frescoes of the walls. All the walls are frescoed in Florence. Think of having your ceiling and walls painted in a manner that constantly suggests Michael Angelo!

After some weeks spent in looking at the art-wonders in Florence, I visited many of the studios of our artists. That of Mr. Hart, on the Piazza Independenza, was one of the most interesting. He had two very admirable busts of Henry Clay, and all his visitors, encouraged by his frank manner, criticised his works freely. Most people boldly pass judgment on any work of art, and "understand" Mrs. Browning when she says the Venus de' Medici "thunders white silence." I do not. I am sure I never can understand what a thundering silence means, whatever may be its color. These appreciators talked of the "word-painting" of Mrs. Browning.

They sit on their thrones in a purple sublimity,
And grind down men's bones to a pale unanimity.

I suppose this is "word-painting." I can see the picture also--some kings, and possibly queens, seated on gorgeous thrones, engaged in the festive occupation of grinding bones! Oh, I degrade the subject, do I? Nonsense! The term is a stilted affectation, perhaps never better applied than to Mrs. Browning's descriptive spasms. Still, she was undoubtedly a poet. She wrote many beautiful subjective poems, but she wrote much that was not poetry, and which suggests only a deranged nervous system. I have a friend who maintains from her writings that she never loved, that she did not know what passion meant. However this may be, the author of the sonnet commencing--

Go from me! Yet I feel that I shall stand
Henceforward in thy shadow,

deserves immortality.

But to return to Mr. Hart's studio. One of the most remarkable things I saw in Florence was this artist's invention to reduce certain details of sculpture to a mechanical process. This machine at first sight struck me as a queer kind of ancient armor. In brief, the subject is placed in position, when the front part of this armor, set on some kind, of hinge, swings round before him, and the sculptor makes measurements by means of numberless long metal needles, which are so arranged as to run in and touch the subject: A stationary mark is placed where the needle touches, and then I think it is pulled back. So the artist goes on, until some hundreds of measurements are made, if necessary, when the process is finished and the subject is released. How these measurements are made to serve the artist in modeling the statue I cannot very well describe, but I understood that by their aid Mr. Hart had modeled a bust from life in the incredible space of two days! I further understood that Mr. Hart's portrait-busts are remarkable for their correct likeness, which of course they must be if they are mathematically correct in their proportions. Many of the artists in Florence have the bad taste to make sport of this machine; but if Mr. Hart's portrait-busts are what they have the reputation of being, this sport is only a mask for jealousy. Mr. Hart was extremely sensitive to the light manner Mr. Powers and others have of speaking of this invention. One day he was much annoyed when a visitor, after examining the machine very attentively for some time, exclaimed, "Mr. Hart, what if you should have a man shut in there among those points, and he should happen to sneeze?"

The Pitti Palace was one of my favorite haunts, and I often spent whole hours there in a single salon. There I almost always saw Mr. G----, a German-American, copying from the masters; and he could copy too! What an indefatigable worker he was! Slight and delicate of frame, he seemed absolutely incapable of growing weary. He often toiled there all day long, his hands red and swollen with the cold, for the winter, as I have before remarked, was unusually severe. For many days I saw him working on a Descent from the Cross by Tintoretto--a bold attempt, for Tintoretto's colors are as baffling as those of the great Venetian master himself. This copy had received very general praise, and one day I took a Lucca friend, a dilettante, to see it. Mr. G---- brought the canvas out in the hall, that we might see it outside of the ocean of color which surrounded it in the gallery. When we reached the hall, Mr. G---- turned the picture full to the light. The effect was astounding. It was so brilliant that you could hardly look at it. It seemed a mass of molten gold reflecting the sun. "Good God!" exclaimed G----, "did I do that?" and an expression of bitter disappointment passed over his face. I ventured to suggest that as everybody had found it good while it was in the gallery, this brilliant effect must be from the cold gray marble of the hall. G---- could not pardon the picture, and nothing that the Italian or I could say had the least effect. He would hear no excuse for it, and, evidently quite mortified at the début of his Tintoretto, he hurried the canvas back to the easel. The sister of the czar of Russia was greatly pleased with this copy, and proposed to buy it, but whether she did or not I forgot to ascertain.

Alone as I was in Florence, cultivating only the acquaintance of Italians, yet was I never troubled with _ennui_. I read much at Vieussieux's, and when I grew tired of that and of music, I made long sables on the Lung Arno to the Cascine, through the charming Boboli gardens, or out to Fiesole. Fiesole is some two miles from Florence, and once on my way there I stopped at the Protestant burying-ground and pilfered a little wildflower from Theodore Parker's grave to send home to one of his romantic admirers. Fiesole must be a very ancient town, for there is a ruined amphitheatre there, and the remains of walls so old that they are called Pelasgic in their origin; which is, I take it, sufficiently vague. The high hill is composed of the most solid marble; so the guidebooks say, at least. This is five hundred and seventy-five feet above the sea, and on its summit stands the cathedral, very old indeed, and built in the form of a basilica, like that of San Miniato. From this hill you look down upon the plain beneath, with the Arno winding through it, and upon Florence and the Apennine chain, above which rise the high mountains of Carrara. Here, on the highest available point of the rock, I used to sit reading, and looking upon the panorama beneath, until the sinking sun warned me that I had only time to reach the city before its setting. I used to love to look also at works of art in this way, for by so doing I fixed them in my mind for future reference. I never passed the Piazza della Signoria without standing some minutes before the Loggia dei Lanzi and the old ducal palace with its marvelous tower. Before this palace, exposed to the weather for three hundred and fifty years, stands Michael Angelo's David; to the left, the fountain on the spot where Savonarola was burnt alive by the order of Alexander VI.; and immediately facing this is the post-office. I never could pass the post-office without thinking of the poet Shelley, who was there brutally felled to the earth by an Englishman, who accused him of being an infidel, struck his blow and escaped.

I made many visits to the Nuova Sacrista to see the tombs of the two Medici by Michael Angelo. The one at the right on entering is that of Giuliano, duke of Nemours, brother of Leo X. The two allegorical figures reclining beneath are Morning and Night. The tomb of Lorenzo de' Medici, duke of Urfrino, stands on the other side of the chapel, facing that of the duke de Nemours. The statue of Lorenzo, for grace of attitude and beauty of expression, has, in my opinion, never been equaled. The allegorical figures at the feet of this Medici are more beautiful and more easily understood than most of Michael Angelo's allegorical figures. Nevertheless, I used sometimes, when looking at these four figures, to think that they had been created merely as architectural auxiliaries, and that their expression was an accident or a freak of the artist's fancy, rather than the expression of some particular thought: at other times I saw as much in them as most enthusiasts do--enough, I have no doubt, to astonish their great author himself. I believe that very few people really experience rapturous sensations when they look at works of art. People are generally much more moved by the sight of the two canes preserved in Casa Buonarotti, upon which the great master in his latter days supported his tottering frame, than they are by the noblest achievements of his genius.

The Carnival in Florence was a meagre affair compared with the same fête in Rome. During the afternoon, however, there was goodly procession of masks in carriages on the Lung' Arno, and in the evening there was a feeble _moccoletti_ display. The grand masked ball at the Casino about this time presents an irresistible attraction to the floating population in Florence. I was foolish enough to go. All were obliged to be dressed in character or in full ball-costume: no dominoes allowed. The Casino, I was told, is the largest club-house in the world; and salon after salon of that immense building was so crowded that locomotion was nearly impossible. The floral decorations were magnificent, the music was excellent, and some of the ten thousand people present tried to dance, but the sets formed were soon squeezed into a ball. Then they gave up in despair, while the men swore under their breath, and the women repaired to the dressing-rooms to sew on flounces or other skirt-trimmings. Masks wriggled about, and spoke to each other in the ridiculously squeaky voice generally adopted on such occasions. Most of their conversation was English, and of this very exciting order: "You don't know me?" "Yes I do." "No you don't." "I know what you did yesterday," etc., etc., _ad nauseam._ How fine masked balls are in sensational novels! how absolutely flat and unsatisfactory in fact! There was on this occasion a vast display of dress and jewelry, and among the babel of languages spoken the most prominent was the beautiful London dialect sometimes irreverently called Cockney. I lost my cavalier at one time, and while I waited for him to find me I retired to a corner and challenged a mask to a game of chess. He proved to be a Russian who spoke neither French nor Italian. We got along famously, however. He said something very polite in Russian, I responded irrelevantly in French, and then we looked at each other and grinned. He subsequently, thinking he had made an impression, ventured to press my hand; I drew it away and told him he was an idiot, at which he was greatly flattered; and then we grinned at each other again. It was very exciting indeed. I won the game easily, because he knew nothing of chess, and then he said something in his mother-tongue, placing his hand upon his heart. I could have sworn that it meant, "Of course I would not be so rude as to win when playing with a lady." I thought so, principally because he was a man, for I never knew a man under such circumstances who did not immediately betray his self-conceit by making that gallant declaration. Feeling sure that the Russian had done so, when we placed the pieces on the board again I offered him my queen. He seemed astounded and hurt; and then for the first time I thought that if this Russian were an exception to his sex, and I had _not_ understood his remark, then it was a rudeness to offer him my queen. I was fortunately relieved from my perplexing situation by the approach of my cavalier, and as he led me away I gave my other hand to my antagonist in the most impressive manner, by way of atonement in case there _had_ been anything wrong in my conduct toward him.

One day during the latter part of my stay in Florence I went the second time to the splendid studio of Mr. Powers. He talked very eloquently upon art. He said that some of the classic statues had become famous, and deservedly so, although they were sometimes false in proportion and disposed in attitudes quite impossible in nature. He illustrated this by a fine plaster cast of the Venus of Milo, before which we were standing. He showed that the spinal cord in the neck could never, from the position of the head, have joined that of the body, that there was a radical fault in the termination of the spinal column, and that the navel was located falsely with respect to height. As he proceeded he convinced me that he was correct; and in defence of this, my most cherished idol after the Apollo Belvedere, I only asked the iconoclast whether these defects might not have been intentional, in order to make the statue appear more natural when looked at in its elevated position from below. I subsequently repeated Mr. Powers's criticism of the Venus of Milo in the studio of another of our distinguished sculptors, and he treated it with great levity, especially when I told him my authority. There is a spirit of rivalry among sculptors which does not always manifest itself in that courteous and well-bred manner which distinguishes the medical faculty, for instance, in their dealings with each other. This courtesy is well illustrated by an anecdote I have recently heard. A gentleman fell down in a fit, and a physician entering saw a man kneeling over the patient and grasping him firmly by the throat; whereupon the physician exclaimed, "Why, sir, you are stopping the circulation in the jugular vein!" "Sir," replied the other, "I am a doctor of medicine." To which the first M.D. remarked, "Ah! I beg your pardon," and stood by very composedly until the patient was comfortably dead.

While Mr. Powers was conversing with me about the Venus of Milo, there entered two Englishwomen dressed very richly in brocades and velvets. They seemed very anxious to see everything in the studio, talked in loud tones of the various objects of art, passed us, and occupied themselves for some time before the statue called California. I heard one of them say, "I wonder if there's anybody 'ere that talks Hinglish?" and in the same breath she called out to Mr. Powers, "Come 'ere!" He was at work that day, and wore his studio costume. I was somewhat surprised to see him immediately obey the rude command, and the following conversation occurred:

"Do you speak Hinglish?"

"Yes, ma'am."

"What is this statue?"

"It is called California, madam."

"What has she got in 'er 'and?"

"Thorns, madam, in the hand held behind the back; in the other she presents the quartz containing the tempting metal."

"Oh!"

We next entered a room where there was another work of the sculptor in process of formation. Mr. Powers and myself were engaged in an animated and, to me, very agreeable conversation, which was constantly interrupted by these ill-bred women, who kept all the time mistaking the plaster for the marble, and asked the artist the most pestering questions on the _modus operandi_ of sculpturing. I was astonished at the marvelous temper of Mr. Powers, who politely and patiently answered all their queries. By some lucky chance these women got out of the way during our slow progress back to the outer rooms, and I enjoyed Mr. Powers's conversation uninterruptedly. He showed me the beautiful baby hand in marble, a copy of his daughter's hand when an infant, and had just returned it to its shrine when the two women reappeared, and we all proceeded together. In the outer room there were several admirable busts, upon which these women passed comment freely. One of these busts was that of a lady, and they attacked it spitefully. "What an ugly face!" "What a mean expression about the mouth!" "Isn't it 'orrible?"

"Who is it?" asked one of them, addressing Mr. Powers.

"That is a portrait of my wife," said the artist modestly.

"Your wife!" repeated one of the women, and then, nothing abashed, added, "Who are you?"

"My name is Powers, madam," he answered very politely. This discovery evidently disconcerted the impudence even of these visitors, and they immediately left the studio.

As the day approached for my departure I visited all my old haunts, and dwelt fondly upon scenes which I might never see again. My dear old music-master cried when I bade him farewell. Povero maestro! He used to think me so good that I was always ashamed of not being a veritable angel. I left Florence when

All the land in flowery squares,
Beneath a broad and equal-blowing wind,
Smelt of the coming summer.

My last visit was with the maestro to the Cascine, where he gathered me a bunch of wild violets--cherished souvenir of a city I love, and of a friend whose like I "ne'er may look upon again."

MARIE HOWLAND.

THE SOUTHERN PLANTER.

While Philadelphia hibernates in the ice and snow of February, the spring season opens in the Southern woods and pastures. The fragrant yellow jessamine clusters in golden bugles over shrubs and trees, and the sward is enameled with the white, yellow and blue violet. The crocus and cowslip, low anemone and colts-foot begin to show, and the land brightens with waxy flowers of the huckleberry, set in delicate gamboge edging. Yards, greeneries, conservatories breathe a June like fragrance, and aviaries are vocal with songsters, mocked outside by the American mocking-bird, who chants all night under the full moon, as if day was too short for his medley.

New Orleans burgeons with the season. The broad fair avenues, the wide boulevards, famed Canal street, are luxuriant with spring life and drapery. Dashing equipages glance down the Shell Road with merry driving-and picnic-parties. There is boating on the lake, and delicious French collations at pleasant resorts, spread by neat-handed mulatto waiters speaking a patois of French, English and negro. There spring meats and sauces and light French wines allure to enjoyments less sensual than the coarser Northern climate affords.

The unrivaled French opera is in season, the forcing house of that bright garden of exotics. Other and Northern cities boast of such entertainments, but I apprehend they resemble the Simon-Pure much as an Englishman's French resembles the native tongue. In New Orleans it is the natural, full-flavored article, lively with French taste and talent, and for a people instinct with a truer Gallic spirit, perhaps, than that of Paris itself. It is antique and colonial, but age and the sea-voyage have preserved more distinctly the native _bouquet_ of the wine after all grosser flavors have wasted away. The spectacle within the theatre on a fine night is brilliant, recherché and French. From side-scene to dome, and from gallery after gallery to the gay parquette, glitters the bright, shining audience. There are loungers, American and French, blasé and roué, who in the intervals drink brandy and whisky, or anisette, maraschino, curçoa or some other fiery French cordial. The French loungers are gesticulatory, and shoulders, arms, fingers, eyes and eyebrows help out the tongue's rapid utterance; but they are never rude or boisterous. There are belles, pretty French belles, with just a tint of deceitless rouge for fashion's sake, and tinkling, crisp, low French voices modulated to chime with the music and not disharmonize it; nay, rather add to the sweetness of its concord.

And there is the Creole dandy, the small master of the revels. There is nothing perfumed in the latest box of bonbons from Paris so exquisite, sparkling, racy, French and happy in its own sweet conceit as he is. He has hands and feet a Kentucky girl might envy for their shapely delicacy and dainty size, cased in the neatest kid and prunella. His hair is negligent in the elegantest grace of the perruquier's art, his dress fashioned to the very line of fastidious elegance and simplicity, yet a simplicity his Creole taste makes unique and attractive. He has the true French persiflage, founded on happy content, not the blank indifference of the Englishman's disregard. It becomes graceful self-forgetfulness, and yet his vanity is French and victorious. In the atmosphere of breathing music and faint perfume he looks around the glancing boxes, and knows he has but to throw his sultanic handkerchief to have the handsomest Circassian in the glowing circle of female beauty. But he does not throw it, for all that. His manner plainly says: "Beautiful dames, it would do me much of pleasure if I could elope with you all on the road of iron, but the _bête noir_, the Moral, will not permit. Behold for which, as an opened box of Louvin's perfumeries, I dispense my fragrant affection to you all: breathe it and be happy!" Such homage he receives with graceful acquiescence, believing his recognition of it a sweet fruition to the fair adorers. He accepts it as he does the ices, wines and delicate French dishes familiar to his palate. Life is a fountain of eau sucrée, where everything is sweet to him, and he tries to make it so to you, for he is a kindly-natured, true-hearted, valiant little French gentleman. His loves, his innocent dissipations, his grand passions, his rapier duels, would fill the volumes of a Le Sage or a Cervantes. In the gay circles of New Orleans he floats with lambent wings and irresistible fine eyes, its serenest butterfly, admired and spoiled alike by the French and American element.

At this early spring season a new atom of the latter enters the charmed circle, breaking its merry round into other sparkles of foam. A well-formed, stately, rather florid gentleman alights at the St. Charles, and is ushered into the hospitalities of that elegant caravansary. There is something impressive about him, or there would be farther North. He is American, from the strong, careless Anglo-Saxon face, through all the stalwart bones and full figure, to the strong, firm, light step. He will crush through the lepidoptera of this half-French society like a silver knife through _Tourtereaux soufflés à la crême_. He brings letters to this and that citizen, or he is well known already, and "coloneled" familiarly by stamp-expectant waiters and the courteous master of ceremonies at the clerk's desk. He calls, on his bankers, and is received with gracious familiarity in the pleasant bank-parlor. Correspondence has made them acquainted with Colonel Beverage in the way of business: they are glad to see him in person, and will be happy to wait on him. He makes them happy in that way, for they do wait upon him satisfactorily. There is a little pleasant interchange of news and city gossip, and of something else. There is a crinkling of a certain crispy, green foliage, and the colonel withdraws in the midst of civilities.