Chapter V: Front Matter (5)

"Kelson told me afterward how the rough seamen gazed at us for a while in astonishment, and then, with a delicacy of feeling which even such unrefined natures can sometimes exhibit, moved quietly off and left us unobserved; but I forgot for a while that there was any one else on the ship besides my new-found brother and myself. It was full five minutes before either of us could utter a word, and then, after a few brief expressions of surprise and pleasure, John sent word to his first officer that he would spend the day on the Ariadne, and giving our orders to keep the ships together, which was easy enough now that both were in the same current, we retired together to my cabin.

"That day was, I honestly believe, the brightest and happiest of my life. Not a word was said by either of us in reference to any jar or unpleasantness in the past--not a reproach for long and unfraternal negligence through all these years of separation. Each listened eagerly to the story of the other's life, questioned closely for every minute detail, sympathized with every slight misfortune, and expressed a hearty pleasure in every incident of happiness or success. I learned how John had passed a year after my departure in uncertainty as to his plans for the future, and in the vain effort to break the resolution of Ellen Jones. Then he purchased a vessel, as I had done, and crossing the ocean ran for two years between New York and the West Indian ports. His career was not as fortunate as mine had been, and when, after eight years of a seaman's adventurous life, he was rewarded for his faithful devotion by the hand of the woman whom he loved, he was no richer than my father had left him. Ellen had made two voyages with him--one just after their marriage, and one two years later, after their baby died. John lost money on this last trip, but was steadily repairing his fortunes when, about a year before our meeting, he lost his ship and cargo off the coast of Newfoundland, barely escaping with his crew by the assistance of a fishing-vessel which had answered their signal of distress. This misfortune had reduced him to very straitened circumstances, and he had left his wife with five little ones at home, hoping for a successful venture in this voyage to the Cape, every guinea of his capital having been invested in a half interest in the Ellen and her cargo. There was nothing to require our attention, as our ships were lying as still and motionless, but for the drift, as if riding at anchor in a road-stead; so we talked together until the steward announced dinner, and after that adjourned to the after-deck with a box of cigars and a bottle of wine, where we resumed our conversation. The weather continued unchanged, and I shall never forget the quiet happiness of those hours as we sat under the awning looking at the Cape pigeons and schools of flying-fish, and chatting about the pleasant memories of our boyish days. It was near sunset when John Alford asked me to signal his boat, and soon afterward he left the Ariadne. We both expected the wind to rise during the night, but intended keeping our ships together until next day, and so made all our arrangements for signaling, so that we might not part company in the darkness.

"When I went below I met Kelson at the cabin door. 'The barometer's taken a start downward, sir,' said he: 'we shall have nasty weather before morning.'

"'It is very likely,' I answered, 'but I think the old ship can stand some weather. Set the watches with two good men in each, and have everything snug for a blow.'

"'Ay, ay, sir!' answered the careful fellow: 'all that's done already. I've seen these South Atlantic calms before now. The sails are all clewed up and the useless spars sent down: the boats are secured, the movables all double lashed, and the storm-staysails made ready to bend on.'

"'Then we shall only have to keep a good lookout, and if it blows, let it blow. Give the watches strict orders not to lose the Ellen, Mr. Kelson.'

"'Ay, ay, sir! The Lord grant it isn't a cyclone! I don't like 'em.'

"It was about nine o'clock that night that I heard a light ripple against the ship's side, and a moment after the creaking of the yards as the rising breeze moved them slightly. I at once went on deck, and my first glance showed me how fortunate I was in having such a first officer as Kelson. The night was as black as pitch: the wind came in little puffs and flaws, and then for a moment would die away altogether. There was a low, ominous murmur in the distance like the sighing of a pine forest, and now and then the faint muttering of thunder. Suddenly there was a sharp, jagged flash which seemed to run halfway round the horizon, followed instantly by a rattling peal like a running fire of field-pieces. A silence and a stillness followed this opening overture like that of the valley of death. I sprang to the pilot-house and seized the wheel, for I knew everything would depend upon _that_, but as yet there was neither lee nor weather side, for it was impossible to guess from what quarter the wind would strike us. There was a brief period of suspense, which seemed to me an hour long, the dead silence broken only by the cheery ring of Kelson's voice giving his orders with a promptness and decision which was sweet music to my ears. A moment more and the whole sky was one blaze of dazzling light; in a second of time I saw with almost supernatural distinctness every rope and spar, every brace and shroud of the ship; I saw the illimitable black expanse of water on the port side, and the Ellen, a mile distant on the starboard bow, her outlines as sharply defined as in a silhouette; I saw the figures of men ascending her shrouds, and with utter amazement I saw that her topsails were set. But as I glanced away from her I saw a dark wall of water on our starboard beam, crested with glittering foam and twenty feet or more in height, bearing right down upon us.

"'Hard a-lee!' came the voice of Kelson, drowned in a crash of thunder which words are powerless to describe, and as the good ship swung round responsive to the touch of her helm, all was again Egyptian darkness, and the wind rushed upon us with the howl and roar of a thousand hungry wild beasts. The Ariadne answered her helm like a tender-mouthed colt, but she was not quick enough for the enormous sea which the next moment broke on her starboard quarter. The decks were deluged with water, which must have swamped the ship had not every hatch been securely battened; the starboard quarter-boat was crushed like an egg-shell, and swept from her davits with the wreck of the bulwarks, which were stove in like a cigar-box; the masts bent like reeds and quivered to the keelson, and the strong mizzen storm-staysails burst with the report of a twelve-pounder. The Ariadne careened until her lee-earrings dipped into the sea, but righted herself as she came before the wind, and rose like a duck on the back of the angry swells. It was a fearful night, and every incident of it is photographed indelibly on my memory. There was not a rag of canvas on the ship except her heavy main-staysail, and yet one after another the topmasts splintered and fell, hampering the lower rigging and littering the deck with the wreck, the broken royals making terrible work as they whipped about in the storm; but it was utterly impossible to cut them loose. Well, it's getting late, and I must hurry to the end of my story. The storm lasted about three hours, and then the wind fell almost as suddenly as it rose.

"When daylight came there was no trace of the tremendous commotion of the night except the heavy swell of the wearied sea. We had weathered the gale in safety, and although the Ariadne was dreadfully battered and her rigging badly cut up, there was no damage which we were not able to repair sufficiently well to continue our voyage."

Uncle Joseph paused as if he had no more to say. I waited a moment, and then ventured to ask, "How did the Ellen get through it?"

"When the sun rose clear I swept the horizon with my glass, but she was not in sight. She has never been heard of since."

Again the old gentleman paused, but this time I dared not break the silence. At last he dropped the stump of his cigar into the ash-holder and said, "I never made but one more voyage after that, and that was to bring John's orphans to Charleston after their mother's death."

ROBERT WILSON.

ART--EXPERIENCE OF AN IGNORAMUS.

When I remember my first visits to the picture-galleries of Europe, I am filled with compassion for the multitudes of my country-folk who yearly undergo the same misery. I hope they do not all know how miserable they are, and fancy that they enjoy themselves; but with many the suffering is too great for self-deception, and they come home to look back upon those long halls, filled with the masterpieces of ancient and modern art, as mere torture-chambers, whence nothing is brought away but backache, headache, weary feet and an agonizing confusion of ideas. Some of them avenge themselves by making fun of the whole matter: they tell you that there is a great deal of humbug about your great pictures and statues; that Raphael is nearly as much overrated as Shakespeare; that it is all nonsense for people to pretend to admire headless trunks and dingy canvases. To them I have nothing to say: they find consolation in their own cleverness. But a great many are left with a mingled sense of disappointment and yearning: they cannot get rid of the thought that they have missed a great pleasure--that a precious secret has remained hidden from them, and that through no fault of theirs. It is to these, who have my sincere sympathy, and to those who have the same trials before them, that I offer the result of three years' acquaintance with the great galleries of Europe, premising that I have no technical knowledge of art: I have only learned to enjoy it.

We Americans generally bring total want of preparation with us from home: pictures and statues, their subjects and their authors, except a few of the most famous, are equally unknown to us. This is to some degree our own fault. All that we can learn by reading is valuable. I do not refer to criticism or descriptions, but what may be called the general literature of art--the lives of artists, the history of the various schools, even mythology and the lives of the saints; which last were the favorite theme during the best period everywhere except in England, whose native art is not much over a century old. This is within the reach of every one on this side the Atlantic, and to know what a picture is about is to have one source of confusion removed. Besides which, all accessory information adds much to the general interest and is a help in the first stages. Criticism is to be excepted, as tending to disturb the integrity of one's individual impressions, difficult enough to keep independent under the influence of a great name. The beginner ought not to seek the opinion of others--except in devoting his attention to the works of highest fame, which is following the verdict of the world, and not of a person or set--until he has one of his own, always bearing in mind that his is probably wrong, and keeping his conceit down and his mind open to conviction. The study of works of art with the handbooks of connoisseurs belongs to the higher branches of aesthetic education, of which I have naught to tell.

Besides reading, of course all opportunities of seeing good specimens at home should be made the most of. These are far from so rare as ten years ago. In Boston the Athenaeum, in New York the Metropolitan Art Museum, and both in the latter city and Philadelphia the private collections--which the kindness of their owners makes almost as accessible as public ones--afford us examples of most contemporary painters and of some of the older masters; while our schools of design are provided with casts from the most celebrated antique statues, and many of the best modern ones come to our shores. The Arundel Society of London publishes chromo-lithographs of uncommon merit after the finest and most curious paintings of the Old World. But the best preparation of all is a knowledge of drawing: even if nothing is acquired beyond the ability to copy a cast correctly or sketch a landscape roughly but faithfully, it is a long step over the primary difficulties of the path.

The very first of these difficulties is to know what we really like. It is probably impossible to look at a famous work with eyes clear from preconceived impressions: copies, engravings, photographs, have familiarized us in some measure with the finest things in the world. However imperfect an idea may be given by reproductions of great pictures--great in size as well as merit--whether we have seen a Marcantonio or a Raphael Morghen or only a _carte de visite_--a notion of their chief features is acquired: we recognize them from the farther end of the gallery, whither indeed we have generally come in quest of them, and the results are very like those of a first sight of Niagara. Everybody knows how that looks--the huge downpour of the American Fall, the graceful rush of the slenderer stream formed by Goat Island, the mighty curve and tremendous placidity of the Horseshoe Fall, the clouds of spray, the lightly poised rainbow. But all this does not give us the feeling of Niagara: one person is overwhelmed, another enraptured, very many are disappointed. Besides, we are bothered by notions of how we ought to feel at such a moment. All these hinderances the majority of us will meet at the outset. After seeing a few masterpieces, a superficial acquaintance with the characteristics of the most elaborated painters is soon acquired, and then comes the difficulty of judging honestly of the effect upon one's self of a picture which bears so great a name. Yet all Tintoretto's paintings are no more equal than Sir Walter Scott's novels or Byron's poems: Titian trips as Homer nods. Of course we cannot expect to distinguish between the good and the bad of a great master, but there is no reason for our admiring everything from his hand. A great step is gained when we know whether we are pleased or not.

All our familiarity with the composition of great pictures does not prevent our becoming bewildered by their size and color on first beholding them. The number of canvases and conflict of hues in a gallery confuse the eye and irritate the nerves. One looks down the interminable corridors, the immense halls, the endless suites of rooms, with growing dismay: as one succeeds another, and the inmost chamber seems farther off as we advance, the nightmare sense of something which is impossible, yet must be done, begins to weigh upon us. And this goes on day after day with a protracted strain upon the limbs, the senses and the brain, until real injury sometimes ensues. After traversing almost without a pause the great art-palaces of Munich, Brussels, Antwerp, The Hague and all the minor ones on the route, on reaching Amsterdam, with its inexhaustible picture-shows, I had got to the point where I sat down amidst the Rembrandts, forced to declare that I would rather look at so much wall-paper of a good pattern. This is utter folly. One cardinal rule in seeking either pleasure or profit is not to tire one's self. When time is limited and the opportunity may never recur, the temptation is almost overpowering: this is our only chance--we must not lose it. But it _is_ lost if we overtask the perceptions and carry away no idea with us: there is no gain, and positive harm. No one new to galleries should look at pictures for more than an hour together, and I think that one who knows and cares much about them will not wish to do so for more than double that time. We learn by degrees to go through a gallery much more rapidly than at first, for unless we have adopted some plan of selection we begin by looking at every picture. After a while we merely glance at the greater number, and get over the ground much more quickly, though we spend a long time before the rest. If in this cursory survey a picture strikes and pleases you, look at it by all means, return to it again and again, and see whether the charm works or wears out: it may be the starting-point of your whole career of enjoyment. Do not run counter to your natural impulse if you have any: no matter whether you suspect the picture to be bad or by an inferior master, look at it and enjoy it as much as you can. If you are only honest with yourself, you will not care for it long if it be poor.

A good plan for getting our ideas into order on going into a gallery is to take one master and look only at his works for a day or two, and then at the others of his school, else there is a terrible confusion of names, dates, periods, manners and subjects in our heads. This cannot always be accomplished, for in some choice collections there are but a few specimens of each master, though in the large ones there are always more than enough for a beginner's first day. It is best to begin with a comparatively modern master, and work back gradually, otherwise the eye is puzzled by inaccuracies of drawing, perspective, color. The early painters can hardly be expected to delight us at first: we are shocked by the unnatural proportions, the grotesque countenances. To cite an extreme case, the first view of Giotto's frescoes, where men and women with bodies of board, long jointless fingers, rigid plastered hair, and dark-rimmed slits for eyes whose oblique glance imparts an air of suspicion to the whole assembly, will suggest merely a notion of their grotesqueness. By and by we shall grow used to the deformities, and recognize the primitive truthfulness of attitude and expression, the spirit which animates these ungainly forms and faces, until at length we look at the painter with the eyes of his contemporaries, and judge him by the standards of his own time, on which his claims rest. Then we shall admire him. The Venetians of the sixteenth century are the easiest to look at, however much of their genius and wonderful skill be lost on a novice, for they knew as much about anatomy and perspective as any painter of to-day, and their men and women are such glorious creatures, with backgrounds of such stately architecture or such magnificent scenery, all displayed in a revel of color, that pleasure outruns comprehension in the beholder.

The subject of a work of art exercises a great influence at first. Some subjects naturally attract, others awe, others repel, and some have no interest for us whatever: this, of course, is entirely apart from the intrinsic sources of enjoyment. Next we are affected by the way in which the subject is treated; and this, too, is a moral or intellectual appreciation, rather than an aesthetic one. Perhaps, as a general rule, the enjoyment of landscapes precedes that of figures, and expression strikes us sooner than form, while color comes last of all; but this differs with different temperaments. I suppose there are few who do not feel a little stupid amusement at first at inaccuracies of costume and accessories in the older pictures, but we soon become as indifferent to them as the painters were themselves. One grows so accustomed to see scriptural personages presented in the dress and surrounded by the architecture or landscape of Southern Europe of three centuries ago that the anachronism or inconsistency ceases to strike one. Perhaps it is because armor and flowing robes, colonnades and branching trees, never seem out of keeping with events of a certain dignity. I am not sure that the traveler ever becomes quite unconscious of the incongruity of the old Flemish dress and decorations, in most cases strongly enhanced by the prim composure which is the elementary expression of the earlier Netherlandish faces: this is still discernible through all transitory emotions of fear, hate, love or anguish, and does not fail to produce very tragi-comic combinations. I remember a group of a man in the dress of an Antwerp burgher sitting on a three-legged stool, with his head on the knee of a discreet-looking woman in a long-waisted, plain-skirted gown, with a high square bodice closed by a plaited neckerchief, her hair drawn tightly back under a close round cap, her pocket hanging from her girdle on one side, and on the other a small array of housewifery implements, among others a pair of scissors, with which she is clipping his locks: her expression is so placid and thrifty withal that it seemed clear she was saving a penny for her goodman instead of sending him to the barber. But this was not the painter's idea: the two were Samson and Delilah. Better than this was a painting of Susannah and the elders, where the chaste Susannah is depicted clothed to the throat like a Dutch burgomaster's wife, with a close cap and long veil, while her perilous ablutions are typified by a small wash-basin on the ground beside her. Another almost as grotesque was a Massacre of the Innocents by Peter Breughel the Elder--a snow-scene in the wide street of a red brick, high-gabled village--soldiers, parents, children, all in the stiff, ungraceful Flemish dress of the sixteenth century, the poor little children, in square trousers and pinafores, clinging to their mothers' narrow skirts. Oddly enough, it made the story more real to me than it had ever seemed before, quite painfully and terribly so, indeed: dispoiled of its usual conventional character, it became definite, and the very historical inaccuracy which destroyed the traditional conception made it an historical fact. We have only to go to Ghent and Bruges to see how the genius and devout earnestness of the Van Eycks, Van der Heyden and Hemling raise their pictures above trifling absurdities. It is undeniable that with many of us the constant presentation to our eyes of the incidents of our Saviour's life, especially His passion, gives them more reality than even the most frequent reading of the Bible. This renders the crucifixion extremely painful, intolerable in powerful pictures. I knew of an intelligent, sensitive little child who burst into convulsive sobbing before Tintoretto's great Crucifixion in the Scuola San Rocco at Venice. In the Belvedere at Vienna there is a picture by Rubens of the dead Christ in the arms of the usual small group: His mother is removing with a light, tender touch a thorn which is still piercing the cold brow. The whole picture is in the same spirit, and I never could look at it with dry eyes. Yet in Rubens's hands this and all kindred subjects are generally repulsive. The very early masters are prone to fix the attention upon some revolting detail of torture or too material and agonizing exhibition of physical suffering, but their stiff, hard outlines, absence of perspective and childishness of composition, with the element of the grotesque which is seldom absent, take the edge off their effect. Later, when art has advanced, and is capable of affecting us more deeply, refinement too has advanced: there is less simplicity, but merely painful detail is subordinated to general expression and skill of drawing and color. It is where the two meet, as in Rubens, that the result is most harrowing: the picture I have just spoken of is the only one of his in which I ever saw any sign of delicacy or tenderness, any appeal to the deeper and more exquisite emotions. Nevertheless, by degrees his genius helps one to surmount his realism. On my first visit to Antwerp I looked for a few minutes--which was as long, as I could bear it--at the great Descent from the Cross in the cathedral, and turned away with the conviction that I could never have anything but distressing and disagreeable impressions from that picture. Six months afterward I was in Antwerp again: I could not see the Descent often enough, and spent my last hour in the place before it. Yet he is a brutal painter withal, and such subjects, however magnificently treated by him, could never give me the same unmixed enjoyment as in the hands of the gentle and pensive Vandyke.

Some people maintain that all great works of art speak for themselves, and will make their appeal at once to a person capable of appreciating them, without any previous experience or education. This is impossible, for were it so the fine arts would be an exception to the rules which govern everything else in life--music, literature, moral beauty and the beauties of Nature. It must be with them as with other things: knowledge, cultivation, practice enhance the power of enjoyment. Of course, in this, as in all matters, individual organization will tell powerfully; but take an intelligent, educated person of average perceptions, who has never seen a single good picture, and set him before one of the greatest in the world, and I doubt if he would receive any genuine pleasure from it. _A fortiori_, an uneducated person, one who could appreciate the first masterpiece he ever saw the first time he ever saw it, would be a prodigy only second to him who could produce one without preliminary study. The picture which I think calculated to appeal most powerfully and universally is Leonardo da Vinci's Last Supper, where the grouping of the figures and the expression of each head, as well as the disposition of the whole, can hardly fail to produce a deep impression on any one of thought and feeling; yet even here there would be a first shock, to any untrained eye, from the faded colors, the defaced and spotted surface; and this must be got over before the fresco can be even seen. Moreover, in my experience, there is no pleasure connected with the whole business of seeing galleries like that of revisiting them: not only should we return to them daily on first acquaintance, but we should make a practice of seeing them again after an interval of months whenever it can be done: it is surprising what a comprehension and enjoyment of their chief treasures grows up during absence.

Little by little, through divers probations, we begin to feel ground under our feet. We have our likes and dislikes, our favorite masters, pictures and statues, which are like old friends. Instead of weariness, vexation and a vain effort to comprehend, a delightful sense of repose and coming pleasure steals over us as we enter a gallery. The lovely forms, the noble composition, the delicious color minister to us, mind and body, and soothe us like music or the smile of Nature; and the plastic arts have this advantage over music, that they are impersonal. We cannot identify ourselves with what moves us in painting or sculpture or architecture: on the contrary, it lifts us out of ourselves, away from our griefs and cares, instead of giving them a more intense and poignant expression, which at some moments is all the divinest music seems to do. Their influence is always benign and serene, and we may always have recourse to it, while the secrets of Beethoven, Mendelssohn, Chopin, Schumann lie hidden between leaves, in the keeping of crabbed little hieroglyphs, and a voice, an instrument, or perhaps an orchestra, is needed to reveal them. The picture, the statue, has no secrets but open secrets. You stand before it, and the very soul and essence of it comes softly forth and breathes upon yours. Oh moments of delight, when we lose ourselves in the soft Arcadian mood of Claude Lorrain, in the cool, tranquil revery of the Dutch landscape-painters, in the giant impetuosity of Tintoretto, in the rich, warm sensuousness of Titian, in the glowing mystery of Giorgione, in the calm, profound devoutness of the early Flemings, in the religious rapture of the early Italians! It needs no jot of technical knowledge for this, however much that may enhance our enjoyment, as it undoubtedly must. But the inspiration of a work of art may be felt by any one.

I have considered sculpture less than painting in these remarks, partly because to the majority it is less interesting, and partly because it seems to me so much simpler in itself. The absence of color, the relief of form, the unity of idea, the limitation of each subject to a single figure, or at most two or three, perhaps too the repose and simplicity which characterize antique art, make the path less arduous. I never, even in the infinite vistas of the Vatican, felt the fatigue and perplexity which have beset me in the smallest picture-galleries.

If any reader has had patience with me until now, he or she may like to know the books which were of most use to me in my apprenticeship. There is no pleasanter instructress than Mrs. Jameson, although she is superficial and sentimental, a little lackadaisical indeed: her _Early Italian Painters_, _Sacred and Legendary Art_, and the supplementary volumes on the _Legends of the Madonna_ and of the _Monastic Orders_, and on those relating to the life of our Lord, have all been republished in this country. There is a finer book of the same order, Lord Lindsay's _Christian Art_, now out of print, but to be found in public libraries. M. Rio's work, _De l'Art Chrétien_ (let the purchaser beware of two volumes of _Epilogue_, which are autobiography), is a full and admirable history of religious art: it is written from a purely Roman Catholic point of view, and his opinions are deeply imbued by prejudice. The reader will soon perceive this, however, and be upon his guard, remembering that, after all, the Roman Catholic view is the true one whence to contemplate art from the twelfth to the seventeenth century, but that art and theology are not one, nor even akin. M. Rio does not mention the Spanish school, perhaps with reason, as the Virgins of Murillo, the saints of Zurburan and Ribera, scarcely belong to the realm of religious art: this deficiency is supplied by Stirling's _Annals of the Artists of Spain_. Kugler's _Handbuch der Kunstgeschichte_ (translated, I believe) is a capital and comprehensive work, including ancient as well as modern art; and the knowledge of the one is as necessary for the understanding of the other as an acquaintance with ancient history is for the comprehension of modern history. I cannot recommend Vasari's _Lives of the Italian Painters_ entertaining as it is, for so much of each page is taken up by notes of different editors and commentators denying flatly the assertions of the text that to read him for information seems waste of time. Messrs. Crowe and Cavalcaselle's _New History of Painting in Italy_ is the latest English authority. Mr. Charles Perkins's _Tuscan Sculptors_, of which we have reason to be very proud, is already the accepted standard work everywhere. Kugler's _Handbook of the German and Dutch Schools_, edited by Sir Edmund Head, has not been superseded, I think. It is with great hesitation that I name Mr. Ruskin in the catalogue of guidebooks: he is so arbitrary and paradoxical, lays down the law so imperiously, and contradicts himself so insolently, that a learner attempting to follow him in his theories will be hopelessly bewildered. Yet nowhere are the eternal, underlying truths upon which art rests so clearly discerned and nobly defined as in _Modern Painters, The Seven Lamps of Architecture_ and _The Stones of Venice_; and nowhere do we find such poetical or beautiful descriptions. Yes, one should read these earlier books of Ruskin's, if it be but for the pleasure they give. All theories of art are useless for the American student who has not been abroad: the object is not to make up one's mind respecting the principles and limits of beauty in painting and sculpture, to form a code of aesthetics while the great pictures and statues of the world are still unknown; yet if a natural curiosity impel us to the inquiry, there are Lessing and Winckelmann, still the first authorities, despite some slight signs of human fallibility.

I will not say that all these stories of artists whose works one has not seen, that even the most brilliant and graphic descriptions of their works, have not often the bitter flavor of the Barmecide feast, but we must have faith and patience: the real banquet will be forth-coming, and then we shall see what an appetite we bring to it from our studies.

SARAH B. WISTER.

BY THE LAKE.

"Who is she?" asked Maurice Grey of the lady with whom he was walking.

"Fay Lafitte," replied the latter curtly: then, as if by chance, she turned in another direction, saying, "You left them all well at home?"

The young man halted, forcing his companion to do the same, and with his eyes fixed on a figure pacing up and down the opposite alley, he remarked, "I suppose she is one of the reigning belles here?"

"Rather a solitary belle," laughed his cousin.

"I should think even a belle might enjoy solitude at times," rejoined Maurice, argumentatively.

The lady, Mrs. Clare Felton, slightly raised one shoulder, indicating thereby that the point in question did not interest her, and asked, "Shall we walk on?"

"Couldn't you introduce me? That's a good soul, do."

"My dear cousin, it is impossible: the girl has a particular aversion to me."

"Nonsense, Clare! Don't be ill-natured the first day I arrive. How do you know she has?"

"We are neighbors at Felton, and--"

"Neighbors in the country, I perceive. Did their chickens destroy your flower-beds, or their cock wake you by crowing at unearthly hours in the morning? Had they a barking dog they refused to part with, or was it the servants?"

"If you mean to be sarcastic I shall need support. Now go on, and, notwithstanding your provoking innuendo, I will try to satisfy your curiosity."

"Firstly," began Maurice, seating himself on the rustic bench near her, "why isn't Miss Lafitte a belle?--she is certainly beautiful."

"'Pretty is as pretty does'--a motto especially true of belles."

"Which, interpreted, means she is not agreeable. Yet she has mind, or she would not keep that thoughtful position for so long a time."

"She may be planning the trimming for her next ball-dress," remarked his cousin.

"She is too serious for that."

"It is a serious affair at times."

"There is something about her extremely interesting to me."

"Maurice, of course you will think me odious"--and Mrs. Felton checked her bantering tone--"but don't sit here allowing your imagination to run wild, deifying Miss Lafitte before you know her. Either make her acquaintance in the ordinary way, or, which I should like better, avoid her."

"Do you think I am falling in love at first sight?"

"I think any idle young man tempts Providence when he sits weaving romances about a very beautiful girl before he knows her."

"Then introduce us."

"She won't speak to me."

"What have you quarreled about?"

"Nothing."

"Very mysterious. Clare, listen! If you don't tell me the whole secret, I will fall in love with her for spite, and make a terrible fool of myself."

"An easy task."

"Shoot it off, Clare: I know you are dying to tell me."

"I would rather you heard it from some one else: I would indeed. Still, if you insist--"

"I command, I entreat."

"Incorrigible! For your own good I--"

"My peace of mind depends on it."

"I wish you were not so obstinate." Then, lowering her voice, "The report is that the poor girl is insane."

"What a horrible slander!" exclaimed the young man, springing to his feet.

"Yes," remarked the widow, "if it is not true."

"It is heartless." Then looking at her sharply, "There is no foundation for it, is there?"

"She has strange fancies, takes aversions to people--I can't say. Let us continue our walk. I have told you I am not acquainted with her."

"We will walk that way: I want to see her closer."

Not satisfied with merely passing, Dr. Maurice Grey--to give him his full title--crossed the path when near the solitary figure, so as to have a full view of her face. At that moment Miss Lafitte raised her eyes, and their expression when they rested on Mrs. Felton was hard to interpret. It seemed a mixture of repulsion and dread. She drew back as they went by, and involuntarily shuddered.

"What do you think of that?" asked the widow as soon as they were at a safe distance.

"Unquestionably she is a good hater," answered Maurice.

Maurice again saw Fay Lafitte that evening at a ball given at the hotel by the lake where they were both staying. She was standing among a group of girls laughing and talking gayly, but to a close observer this light gayety might appear a symptom of restlessness rather than a proof of enjoyment. With her shining eyes and her crimson cheeks and lips she looked the Allegro of her morning's Penseroso. The young doctor took a station where he would not be remarked, and, forgetting Mrs. Felton's sage advice, kept his eyes fixed on the graceful girl. She gave him the impression of one who had been brought up in some foreign land, where public opinion is more exacting and the bounds of propriety more restricted than in ours. She was clearly a favorite among the ladies with whom she conversed. Several middle-aged gentlemen approached her with their wives and met a kind reception, but she avoided young men with a perversity that was amusing. In a person speaking to her he recognized an acquaintance, and, awaiting his opportunity, addressed him. After the first salutations he asked, "Mr. Allen, do you know Miss Lafitte?"

"From a child: her father is my oldest friend."

"Was she educated abroad?"

"Bless you! no: she is altogether American in training."

"Isn't she rather peculiar?" ventured Maurice.

"If by peculiar you mean the sweetest girl in the world, she is that," replied the old man enthusiastically.

"Is she generally liked?"

"Not by dandies and coxcombs: my little girl over there adores her. But let me introduce you."

"Willingly," ejaculated the other.

"Wait a moment: I will ask her permission."

As Mr. Allen went to prefer his request the doctor narrowly watched the result. A slight accession of color on the lady's face as her old friend indicated him told Maurice he had been recognized; which fact rendered her answer more annoying, for "Miss Lafitte begged to be excused: she was fatigued and wished to retire."

But she did not retire, as he saw with an irritation that grew as the evening advanced. For what reason did she refuse to make his acquaintance? Did she extend to him the dislike she had for his cousin? Did she class him among the fops, or was it but a caprice?

Now, Dr. Grey was a truthful man, and he told himself the _case_ interested him. When, later, he was accosted by an old college-chum, George Clifton, who proceeded to give him the newest confidential slander at the lake, it was but natural he should try to unravel this mystery.

"What do you fellows mean by not surrounding that beauty over there? Where are your eyes?" he asked.

"Miss Lafitte? We have dubbed her the man-hater. She has never been known to make herself agreeable to any male creature under fifty, and not then if he were either a bachelor or a widower. A fellow is obliged to marry before he can be received. Rather too great a sacrifice, isn't it?"

"French blood?" insinuated the doctor.

"French?--as if wickedness had a country and was too patriotic to travel! You are an olive-gray, Maurice. Besides, you could as truthfully accuse an oyster of light behavior."

On making further inquiries one lady told him that she understood the beauty was a bluestocking, and when he asked another why Fay appeared to shun gentlemen's society, "To make them more eager to seek her," was the reply.

"What an amount of trash one can hear at these places in a single hour!" muttered Dr. Grey as he retired that night: then he added, thoughtfully, "I shall certainly make her acquaintance."

The night brings counsel. Maurice decided, on awaking, that he must depend on himself if he would succeed in overcoming Miss Lafitte's prejudice. What if he should make an excuse and speak to her without an introduction? Chance must determine. About the same hour that he had met her the day before the young man directed his steps to the alley where she had been walking. There she was, pacing to and fro meditatively, enjoying the morning air.

"She looks the sanest of sane people," thought the doctor as he noted her calm expression, but the next moment he had occasion to retract his opinion. The girl caught the sound of his footstep, looked up, recognized him, and, turning, ran like a frightened roe in the opposite direction.

Dr. Grey, giving forth a prolonged low whistle, stood motionless with astonishment, but suddenly he too was running at full speed. The Atalantis had stepped into a hole made by the washing of the rain, and falling forward with violence lay motionless.

The instincts of the physician replaced those of the man as he gently raised the insensible form and laid it on a grassy bank. But her antipathy, whatever its cause, seemed more potent than the injury she had received, for as he touched her she moved uneasily, and opening her eyes said with difficulty, "Thanks. I am not hurt: I do not need your assistance."

"I am a physician," returned Maurice gravely. "Your foot has had a terrible wrench: permit me." He dropped on his knee before, her and proceeded to make an examination with so much quiet authority that she ceased to resist. "There is nothing wrong here: do you feel pain elsewhere?"

She was trembling, for the nervous reaction of the shock had taken place, but she endeavored to conceal it: "I have an oppression on my chest, and this arm--I cannot lift it."

"Do not be alarmed: lean against this tree."

She reluctantly submitted as he carefully felt the arm--nothing; the shoulder, across to the neck--a cry of pain.

"The clavicle is fractured."

"Is that very dreadful?" and now her eyes sought his for the first time.

"Oh no: it happens every day. It will be tedious perhaps, but can scarcely be called an accident at all--only a mishap. I think I will bring you a little brandy before you try to walk."

"Don't speak of it at the house: my father would be troubled. And hurry back: I do not want to be alone."

"What an inconsistent prescription she is!" thought Maurice as he went. "However, fright will make the most obstinate woman docile."

If it was fright, it certainly worked marvels. When he returned Fay obediently followed every direction given by him, even taking his arm for support as they walked to the hotel. Having seen his patient to the door of her room, professional delicacy prompted the doctor to withdraw. As he bade her good-morning she became embarrassed, hesitated a moment, then abruptly throwing open the door which gave entrance to a parlor, she said with a suspicious quaver in her voice, "Won't you come in? I must thank you, and papa must thank you."

"Not at all necessary," he replied lightly. "I will see you again if you permit me, but I must go now."

"You are offended because I--No matter: it is best. Go, then;" and she held out her hand, which he took, while her face became grave, almost sad; or was it but the young man's fancy?

"She is a warm-hearted, impulsive, spoilt child," was Maurice's final dictum as he left. "I must go now to Clare, to be warned or scolded or lectured about her; but first a cigar. Query: when a man forgets his morning cigar, what does it portend? There was a special providence in the rain washing that hole. A pity for the poor girl, but it gave me just the excuse I needed."

Maurice had been smoking for about an hour on the piazza when he was accosted by a servant, who had the air of really trying to find some one for whom he had been sent.

"Are you a doctor?" asked the man.

Grey nodded.

"They are waiting for you: come quick, please."

"I rather think you are mistaken: suppose you look up some one else?"

"Have been all about, sir. I can't get any one else. You'll do, I think: won't you come? The governor is deuced easy with his money."

"That accounts for your eagerness to serve him. Well, I suppose I must go and see about it."

He was taken, as he had anticipated, to Miss Lafitte's room. A gentleman with very white hair and an anxious face was alone in the parlor, who, introducing himself as Mr. Lafitte, repeated the servant's question: "Are you a physician?"

"As much as a diploma and three years' practice can make me," answered the young man.

"My daughter has had a severe fall," he explained: "she is suffering. I hope you can relieve her."

"Excuse me when I tell you that I am here for absolute rest. Is it possible to get another doctor?"

"No, we have tried. I beg that you will undertake the case without further delay."

Maurice felt the position awkward. "On one condition," he answered finally, at the same time giving his card: "that is, if the lady is willing."

Perhaps the father was accustomed to the whims of his child, for he did not appear surprised at the proviso, but immediately went to the next room to inquire. In a moment the communicating door was opened and the doctor invited to enter.

He found his patient very much excited--pulse high and cheeks flushed. She did not wait for Mr. Lafitte to present him, but commenced pettishly, "It would have been much better to stay when you were here, instead of keeping me waiting so long. It is of no use to resist. Oh what shall I do?"

"Your dress must be removed," said Dr. Grey briefly.

"I cannot put my arm back: I can't breathe. Do you think there could be something broken in my lungs?"

"Not likely: do not talk so much. Some of the ladies in the house must have valerian: I will beg a little for you. In the mean time your maid can rip your dress on the shoulder and round the sleeve: it will then come off without trouble."

"He is a fine doctor," said Jane as she quickly obeyed the directions. "One of them quacks would have cut this good dress to pieces, and never thought but it grew on a person without a seam. If he can save a dress, he is safe to know how to save a life."

"We will not call it saving a life," replied Maurice entering. "Take this and lie still while I prepare the bandages: it will soon be over."

"You did hurt me fearfully," murmured Fay reproachfully when at last the bone had been set.

"Not fearfully," he smiled. "Now sleep and forget it."

"Unless a doctor kills some one outright, he thinks it no operation at all," she exclaimed with sudden change of mood. "Now, please don't neglect me, but come often--twice a day until I am better."

On leaving Miss Lafitte the young man went to his cousin and told her how he had become acquainted with the beauty.

"Well?"

"She is but a spoilt child, Clare."

"Infatuated," exclaimed the lady.

"Jealous," returned the gentleman.

The young doctor, though he had frequent opportunities of being with his fair patient, soon chafed at a relation which, while it permitted him to see her, prevented him from taking advantage of his intimacy. The confidence with which she now treated him was an additional grievance: she was too _friendly_. Her position toward the outside world had also changed. Three, four, five weeks passed by, and had any one gathered the opinions of the crowd who surrounded Miss Lafitte, he would have heard but praise. Perhaps her capricious nature was tired of seclusion, for at present she had smiles for all. Piquant, original and clever, her popularity became as great as it was sudden, while she was only invalid enough to enlist sympathy or exact attention. But in one particular the girl had never varied--that of her rooted dislike to Mrs. Felton.

One morning when Maurice was paying a professional visit, which afforded his only chance of seeing her alone, he curiously asked, "Miss Lafitte, what is the cause of your aversion to my cousin?"

She was silent a few moments, then with apparent irrelevancy said, "Do you believe in premonitions?"

An emphatic "No" was the answer.

"Why should they not be true? Our thoughts arise from the same source as our actions; or, rather, there must be a creative thought for every separate act. Now, whether the act follows its producing impulse by moments, days or years, the fact remains the same."

"So that a man can tell before he goes into battle whether he will be brave or cowardly?"

"Certainly: we are conscious of our disposition, of our general manner of thinking, and consequently can judge of our course of action."

"That would make life plane sailing.

"No, for though you know your own qualities, you can seldom force events to fit them. As long as he can avoid danger the coward may be brave, but if danger is thrust upon him, off he runs."

"Of course you have presentiments?" said he ironically.

"Yes."

"And they always come true?"

"Sooner or later. The time is indefinite, but the result is certain.

"Can you predict for others?"

"Not unless I love them: I can for my father. Either you must know a person well, or have naturally a great deal of penetration, insight, quick observation. Give it what name you please, it is the gift of seers, by which they interpret the marks that character leaves upon face and form."

"When you fall in love--"

"I shall not do that," she interrupted: "I have been warned."

"How? Tell me about it."

"I do not see as clearly as some: I only vaguely feel that a certain occurrence will bring a certain catastrophe. If I love, I shall die."

"Nonsense! And is that the reason you avoided gentlemen's society?"

"Yes. I was afraid, really afraid;" and she made the expression stronger by a slight shudder.

"And you are so no longer?" he questioned hopefully.

"After I knew you I saw there was no danger in simply being acquainted with gentlemen."

Dr. Grey winced, and was silent for a time; then resumed energetically: "I am glad you have told me this. What will you think when I say that what you call presentiments are common to every delicately organized person? They are purely physical; an indigestion, a change in the weather or fatigue will cause them; a dose of medicine or a night's repose will cure them. The brain becomes indisposed with the rest of the body, but to allow such morbid fancies to influence you is preposterous."

"They are prophetic: I have often proved it."

"Mere coincidences. My advice is to begin to fight them at once. In regard to my cousin--"

"She has already brought me trouble. I knew it would be so when she crossed my path the other day. Look at my accident."

"That might have happened to any one. Why did you run away from me?"

"It was an impulse I could not restrain."

"I hope the oracle has not been traducing me?"

"I have had no premonitions lately: when I was suffering I could think of nothing. But you have been so kind it seems impossible you should bring me harm."

"I would not for the world," he broke in earnestly.

"I am drifting blindly, and my mind misgives me that all is not right. I may be walking toward danger unaware. I believe I am," she continued dreamily, "but so long as I do not fall in love, nothing dreadful will happen."

"You had better fall in love than become a monomaniac," exclaimed the young man with more warmth than the occasion seemed to warrant. "If your premonitions have ceased, it is evidence of an improved state of health, and as your physician I forbid you to indulge in them."