Chapter XL: Lost and Now Found (1)

In bringing up Alick tied tight to her apron-strings, feeding him on moral pap, putting his mind into petticoats, and seeking to make him more of a woman than a man, Mrs. Corfield had defeated her design and destroyed her own influence. During his early growth the boy had yielded to her without revolt, because he was more modest than self-assertive--had no solid point of resistance and no definite purpose for which to resist; but after his college career he developed on an independent line, and his soul escaped altogether from his mother's hold. Had she let him ripen into manhood in the freedom of natural development, she would have been his chosen friend and confidante to the end: having invaded the most secret chambers of his mind, and sought to mould every thought according to the pattern which she held best, when the reaction set in the pendulum swung back in proportion to its first beat; and as a protest against his former thraldom he now made her a stranger to his inner life and shut her out inexorably from the holy place of his sorrow.

The mother felt her son's mind slipping from her, but what could she do? Who can set time backward or reanimate the dead? Day by day found him more silent and more suffering, the poor little woman nearly as miserable as himself. But the name of Leam, standing as the spectre between them, was never mentioned after Mrs. Corfield's first outburst of indignation at her flight--indignation not because she was really angry with Leam, but because Alick was unhappy.

After Alick's stern rejoinder, "Mother, the next time you speak ill of Leam Dundas I will leave your house for ever," the subject dropped by mutual consent, but it was none the less a living barrier between them because raised and maintained in silence.

"Oh, these girls! these wicked girls!" Mrs. Corfield had said with a mother's irrational anger when speaking of the circumstance to her husband. "We bring up our boys only for them to take from us. As soon as they begin to be some kind of comfort and to repay the anxiety of their early days, then a wretched little huzzy steps in and makes one's life in vain."

"Just so, my dear," said Dr. Corfield quietly. "These were the identical words which my mother said to me when I told her I was going to marry you."

"Your mother never liked me, and I did like Leam," said Mrs. Corfield tartly.

"As Leam Dundas, maybe; but as Leam the wife of your son, I doubt it."

"If Alick had liked it--" said Mrs. Corfield, half in tears.

"You would have been jealous," returned her husband. "No: all girls are only daughters of Heth to the mothers of Jacobs, and I never knew one whom a mother thought good enough for her boy."

"You need not discredit your own flesh and blood for a stranger," cried Mrs. Corfield crossly; and the mute man with an aggravating smile suddenly seemed to repent of his unusual loquacity, and gradually subsided into himself and his calculations, from which he was so rarely aroused.

Alick, ceasing to make a confidante of his mother, began to make a friend of Mr. Gryce. Perhaps it ought rather to be said that Mr. Gryce began to make a friend of him. The old philosopher, with that corkscrew mind of his, knew well enough what was amiss with the poor lank-visaged curate. Being of the order of the benevolent busybodies fond of playing Providence, how mole-like soever his method, he had marked out a little plan of his own by which he thought he could make all the crooked roads run straight and discord flow into harmony. But he too fell into the mistake common to busybodies, benevolent and otherwise--treating souls as if they were machines to be wound up and kept going by the clockwork of an extraneous will and neatly manipulated by well-arranged circumstance.

One day he joined Alick in his walk to an outlying cottage of the parish, where the husband was sick and the wife and children short of food, and the Church sent its prayer-book and ministers as the best substitute it knew for a wholesome dwelling and sufficient wages. Theology was not much in the way of an old heathen who reduced all religions save Mohammedanism to the transmuted presentation of the archaic solar myth, and who thought Buddhism far ahead of every other creed; but he liked the man Alick, if the parson bored him, and he was caressing a plan which he had in his pocket.

"You find your life here satisfying, I suppose?" he began, his blue eyes looking into the wayside banks for creatures.

"Is any life?" answered Alick, his eyes turned to the vague distance.

"Not fully: the spirit of progress, working by discontent, forbids the social stagnation of rest and thankfulness; but we can come to something that suffices for our daily wants if it does not satisfy all our longings. Work in harmony with our nature, and doing good here and there when we can, both these help us on. But the work must be harmonious and the good we do manifest."

"So far as that goes, Church-work is pleasant to me--all, indeed, I care for or am fit for; but North Aston is stony ground," said Alick.

"Can you wonder? When the husbandman-in-chief is such a man as Mr. Birkett, you must make your account with stones and weeds. The spiritual cannot flourish under the hand of the unspiritual; and, considering the pastor, the flock is far from bad."

"That may be, but we do not like to live only in comparatives," said Alick. "I confess I should be happier in a cure where I was more of one mind with my rector than I am here, and not decried or ridiculed on account of every scheme for good that I might propose. Parish-work here is shamefully neglected, but Mr. Birkett will not let me do anything to mend it."

"Ah!" said Mr. Gryce, catching a luckless curculio by the way, "that is bad. A more harmonious one would certainly be, as you say, far more agreeable. Or a little parish of your own--a parish, however small, which would be all your own, and you not under the control of any one below your diocesan? How would that do? That would be my affair if I were in the Church."

Alick's face lightened. "Yes," he said, "that is my dream--at least one of them. I would not care how small the place might be, if I had supreme control and might work unhindered in my own way."

"It will come," said Mr. Gryce cheerily. "All things come in time to him who knows how to wait."

"Ah, if I could believe that!" sighed Alick, thinking of Leam.

"Take my word for it," returned Mr. Gryce. "It will do you no harm to have a dash of rose-color in your rather sombre life; and Hope, if it tells flattering tales, does not always tell untrue ones."

"I fear my hope has flattered me untruly," said Alick, his faithful heart still on Leam.

Mr. Gryce captured a caterpillar wandering across the road. "Conduct is fate," he said. "If this poor fellow had not been troubled with a fit of restlessness, but had been content to lie safely hidden among the grass-roots where he was born, he would not have been caught. Yes, conduct is fate for a captive caterpillar as well as for man."

"And yet who can foresee?" said Alick. "We all walk in the dark blindfold."

"As you say, who can foresee? That makes perhaps the hardship of it, but it does not alter the fact. Blindly walking or with our eyes wide open, our steps determine our destiny, and our goal is reached by our own endeavors. We ourselves are the artificers of our lives, and mould them according to our own pattern."

"But that part of our lives which is under the influence of another? How can we manipulate that?" said Alick. "Love and loss are twin powers which create or crush without our co-operation."

"I only know one irreparable manner of loss--that by death," said Mr. Gryce steadfastly. "For all others while there is life there is hope, and I hold nothing, beyond the power of the will to remedy."

"I wish I could believe that," Alick sighed again; and again Mr. Gryce said cheerily, "Then take that too on trust, and believe me if you do not believe in your own inborn elasticity, your own power of doing and undoing."

"There are some things which can never come right when they have once gone wrong," said Alick.

"You think so? I know very few," his companion answered in the hearty, inspiriting manner which he had used all through the interview, talking with a broader accent and lisping less than usual, looking altogether more manly and less cherubic than his wont. "I am a believer myself in the power of the will and holding on." After a pause he added suddenly, "You would be really glad of a small living, no matter where situated, nor how desolate and unimportant, where you would be sole master?"

"Yes," said Alick. "If I could win over one soul to the higher life, I should count myself repaid for all my exertions. We must all have our small beginnings."

"I am an odd old fellow, as you know, Mr. Corfield," laughed Emmanuel Gryce. "Give me your hand: I can sometimes see a good deal of the future in the hand."

Alick blushed and looked awkward, but he gave his bony, ill-shaped hand all the same.

After a little while, during which Mr. Gryce had bent this finger this way and that finger another way, had counted the lines made by the bended wrist, and had talked half to himself of the line of Jupiter and the line of Saturn, the line of life and that of Venus, he said quietly, "You will have your wish, and soon. I see a most important change of residence at about this time, which in conjunction with this," pointing to a small cross at the root of the fourth finger, "will be certainly to your advantage."

"How strange!" said Alick. "One scarcely knows whether to laugh at it all as old wives' fables or to believe in the mysterious forewarnings of fate, the foremarkings of the future."

"There are more things in heaven and earth--" said Mr. Gryce. "And we know so little we may well believe a trifle more."

The fact was, all this was founded on these circumstances: He had at this moment a letter in his pocket from his sister Keziah telling him that old Priest Wilson had been found dead in his bed last night; the bishop's chaplain was a friend of his, both having been at the same station in India; and the perpetual curacy of Monk Grange was one which, if offices went according to their ratio of unpleasantness, a man should have been paid a large income to take. Hence there was no chance of a rush for the preferment, and the bishop would be grateful for any intimation of a willing martyr. Through all of which chinks whereby to discover the future Mr. Gryce founded his prophecy; and through them, too, it came about that he proved a true prophet. In three days' time from this the post brought a letter to Alick Corfield from the bishop offering him the perpetual curacy of Monk Grange, income seventy pounds a year and a house.

Before speaking even to his mother, Alick rushed off with this letter to Mr. Gryce. The old leaven of superstition which works more or less in all of us--even those few who think proof a desirable basis for belief, and who require an examination conducted on scientific principles before they accept supernaturalism as "only another law coming in to modify those already known"--that superstition which belongs to most men, and to Alick with the rest, made this letter a matter of tremendous excitement to him. He saw in it the hand of God and the finger of Fate. It was impossible that Mr. Gryce, living at North Aston, should know anything of a small country incumbency in the North. It was all that study made of his poor parched and knuckly hand. And what had been seen there was manifestly the thing ruled for him by Providence and destiny.

"How could you possibly tell?" he cried, looking at his own hand as if he could read it as his clever friend had done.

"That is my secret," said Emmanuel, smiling at the credulity on which he traded. Then, thinking a flutter outward of the corners of his cards the best policy in the circumstances about them at the moment, he added, "And when you get there you will understand more than you do now. For you will go?"

"Surely," said Alick: "it would be unfaithful in me to refuse."

"But see if you cannot make arrangements to take the place on trial for a few months. I know very little of your ecclesiastical law, but grant even that it is as devoid of common sense as I should suppose--seeing who are the men who make, administer and obey it--still, I should think that a temporary incumbency might be arranged."

"I should think so, and I will take your advice," said Alick, over whom Emmanuel Gryce was fast establishing the power which belongs to the stronger over the weaker, to the more astute over the more dense.

"You will find an adopted daughter of mine in the neighborhood," then said Mr. Gryce with the most amiable indifference. "She lives with my sister at our old home on the fell-side: Windy Brow the place is called. You must tell me how she looks and what you think of her altogether when you write to me, as I suppose you will do, or when you come home, if you elect not to take the cure even on trial."

"I am not much in the way of criticising young ladies," said Alick sadly.

"She is rather a remarkable girl, all things considered," returned Mr. Gryce quietly. "Her name is Leonora Darley. You will remember--Leonora Darley. Ask for her when you go up to Windy Brow: Leonora Darley," for the third time.

"All right: Miss Leonora Darley," repeated Alick, suspecting nothing; and again Mr. Gryce smiled as he dug his fingers into the earth of a chrysalis-box. How pleasant it was to pull the strings and see his puppets dance!

Of course, Mr. Birkett's consent was a necessary preliminary to Alick's departure, but there was no difficulty about it. The military rector was tired to death, so he used to say, of his zealous young aide-de-camp, and hailed the prospect of getting rid of him handsomely with a frank pleasure not flattering to poor Alick's self-love. "Certainly, my dear boy, certainly," he said. "It will be better for you to have a place of your own, where you can carry out your new ideas. You see I am an old man now, and have learnt the value of letting well alone. You are in all the fever-time of zeal, and believe that vice and ignorance are like the walls of Jericho, to fall down when you blow your trump. I do not. But on the whole, it is as well that you should learn the realities of life for yourself, and carry your energies where they may be useful."

"Then you do not mind?" asked Alick boyishly.

The rector gave a loud clear laugh. "Mind! a thousand times no," he said, rubbing his plump white hands. "I can manage well enough alone, and if I cannot there are dozens of young eligibles ready to jump at the place. Mind! no. Go in Heaven's name, and may you be blessed in your undertaking!"

The last words came in as grace-lines, and with them Alick felt himself dismissed.

If the rector had been facile to deal with, Mrs. Corfield was not. When she heard of the proposed arrangement, and that she was to lose her boy for the second time out of her daily life, and more permanently than before, her grief was as intense as if she had been told of his approaching death. She wept bitterly, and even bent herself to entreaty; but Alick, to whom North Aston had become a dungeon of pain since Leam went, held pertinaciously to his plan--not without sorrow, but surely without yielding. He was fascinated by the idea of a cure where he might be sole master, not checked by rectorial ridicule when he wished to establish night schools or clothing clubs, penny savings banks, or any other of the schemes in vogue for the good of the poor; thinking too, not unwisely, that the best heal-all for his sorrow was to be found in change of scene and more arduous work together. Also, he thought that if his vague tentative advertisements in the papers, which he dared not make too evident, had as yet brought nothing, some more satisfactory way of discovering Leam's hiding-place might shape itself when he was alone, freer to act as he thought best. On all of which accounts he resisted his mother's grief, and his own at seeing her grieve, and decided on going down to Monk Grange the next day.

Had not Dr. Corfield been ailing at this time, the mother would have accompanied her son. The possibility of damp sheets weighed heavy on her mind; and landladies who filch from the tea-caddy, with landladies' girls, pert and familiar, preparing insidious gruel and seductive cups of coffee, were the lions which her imagination conjured up as prowling for her Alick through the fastnesses of Monk Grange. Circumstances, however, were stronger than her desire; and, happily for Alick, she was perforce obliged to remain at home while her darling went out from the paternal nest to shake those limp wings of his, and bear himself up unassisted in a new atmosphere in the best way he could.

It was on the cold and rainy evening of a cold and rainy summer's day that Alick arrived at Monk Grange--an evening without a sunset or a moon, stars or a landscape; painful, mournful, as those who dwell in the North Country know only too well as the tears on its face of beauty. He had driven in a crazy old gig from Wigton, and the nine miles which lay between that not too brilliant town and the desolate fell-side hamlet which he had been so fain to make his own spiritual domain had not been such as disposed him to a cheerful view of things. The rain had fallen in a steady, pitiless downpour, which seemed to soak through every outer covering and to penetrate the very flesh and marrow of the tired traveler as it pattered noisily on the umbrella and streamed over the leather apron; and the splash of the horse's hoofs through the liquid mud and broad tracts of standing water was as dreary as the "splash, splash" of Bürger's ballad. And when all this was over, and they drew up at the Blucher, with its handful of desolate gray hovels round it, the heart of the man sank at the gloomy surroundings into the midst of which he had flung himself. But the zeal of the churchman was as good a tonic for him as the best common sense, and he waited until to-morrow and broad daylight before he allowed himself to even acknowledge an impression. The warm fireside at the Blucher cheered him too, and his supper of eggs and bacon and fresh crisp havre-bread satisfied such of his physical cravings as, unsatisfied, make a man's spiritual perceptions very gaunt.

He went to bed, slept, and the next day woke up to a glory of sun and sky, a brilliancy of coloring, a photographic sharpness and clearness of form, a suggestion of beauty beyond that which was seen, which transformed the place as if an angel had passed through it in the night. As he tramped about the sordid hamlet he forgot the rude uncouthness of men and place for a kind of ecstasy at the loveliness about him. Every jutting rock of granite shone in the sun like polished jasper, and the numberless little rills trickling down the fell-sides were as threads of silver, now concealed in the gold of the gorse, and now whitening the purple of the heather. The air was full of blithesome sounds. Overhead the sky-larks sang in jocund rivalry, mounting higher and higher as if they would have beaten their wings against the sun: the bees made the heather and the thyme musical as they flew from flower to flower, and the tinkling of the running rills was like the symphony to a changeful theme. It was in real truth a transformation, and the new-comer into the fitful, seductive, disappointing North felt all its beauty, all its meaning, and gave himself up to his delight as if such a day as yesterday had never been.

After he had done what he wished to do in the village, he went up the fell-side road to Windy Brow, and, obeying his instructions, asked when he got there "if Miss Leonora Darley was at home."

"Na, she bain't," said Jenny, eying poor innocent Alick as a colley might eye a wolf sniffing about the fold. "T' auld mistress is."

"Say Mr. Corfield, please," said Alick; and Jenny, telling him to "gang intilt parlor," scuffled off to Keziah, pottering over some pickled red cabbage, which made the house smell like a vinegar-cask.

"I've heard tell of you," said Miss Gryce as she came in wiping her hands on a serviceable and by no means luxurious cloth: "Emmanuel wrote me a letter about you. You're kindly welcome to Monk Grange, but you're only a haverel to look at. Take a seat, and tell me--how's Emmanuel, my brother?"

"He was well when I saw him the day before yesterday: at least he said nothing to the contrary," answered Alick with his conscientious literalness.

"I like that," said Keziah, also eying him, but as a colley might have eyed a strange sheep, not a wolf. "A random rory would have made no difference between now and two days back, and believing and being. You cannot be over-particular in the truth, I take it."

Alick blushed, shifted his place and looked uneasy. And again, as so often before, it came across him: had he done right, judged by the highest law, to conceal the truth as he knew it about Leam?

"Hoot, man! there's no call for you to sit on pins and needles in that fashion," said Keziah. "It's a daft body that cannot hear a word of praise without turning as red as a turkey-cock and fidging like a parched pea on a drum-head. I've not turned much of you over yet, and maybe I'll come to what I'll have no mind to praise; so keep your fidges till you are touched up with the other end of the stick. And so you are to be our new priest, are you?"

"I am going to offer myself for a time," said Alick.

"For a time? That's a thing as has two sides to it. If you are not to our minds, that's its good side: if you are, and we are not to yours, that's its bad. I doubt if our folk will care to be played Jumping Joan with in that fashion."

"I will be guided by the will of the Lord," said Alick reverently.

"Humph! I like the words better nor the chances in them," returned Keziah, taking a pinch of snuff. "But maybe things'll work round as one would have them; and whether you stay or you do not, the Lord's will be done, amen! and His grace follow you, young man!"

"Thank you," said Alick with emotion, getting up and shaking the pickle-stained and snuff-discolored hand.

"I have a message for Miss Leonora Darley," he then said after a pause. "Mr. Gryce told me I was to be sure and tell him how she was looking."

"Eh, poor bairn! she is not very first-rate," the old woman answered tenderly. At least it was tenderness in her: in another person her voice and manner might have been taken for crabbedness and impatience. "She's up by there, on the fell somewhere. She a'most lives on the fell-side, but it don't make her look as brisk as I should like. Have you seen the view from our brow-top? It is a real bonny one; and you'll maybe find Leonora not far off. I don't think she wanders far."

"I should like to see it," said Alick. "The country altogether looks splendid to-day."

"Ay, it's a bonny day enough if it would but last. Come your ways with me and I'll set you out by the back door. You can come in again the same road if you've a mind."

On which she bustled up, and Alick, escorted by her, went through the house and on to the fell-side.

It was, if possible, grander now than it had been in the earlier part of the day. The hot sun had cleared away the lingering mist, and the cloudless sky was like one large perfect opal, while the earth beneath shone and glistened as if it were a jewel set with various-colored gems. There was not a mean or sordid thing about. Touched by the splendid alchemy of the sun, the smallest circumstance was noble, the poorest color glorious. Alick stood on the fell-brow entranced: then turning, he saw slowly coming across the pathless green a young slight figure dressed in gray. He looked as it came near, and his heart beat with a force that took all power from him. It was absurd, he knew, but there was such a strange look of Leam about that girl! He stood and watched her coming along with that slow, graceful, undulating step which was Leam's birthright. Was he mad? Was he dreaming? What was this mocking trick of eyesight that was perplexing him? Surely it was madness; and yet--no, it could be no one else. Supreme, beloved, who else could personate her so as to cheat him?

She came on, her eyes always fixed on the distance, seeing nothing of Alick standing dark against the sky. She came nearer, nearer, till he saw the glory of her eyes, the curve of her lip, and could count the curling tresses on her brow. Then he came down from the height and strode across the space between them.

She lifted up her eyes and saw him. For an instant the sadness cleared out of them as the mists had cleared from the sky: her pathetic mouth broke into a smile, and she held out both her hands. "Alick, dear Alick! my good Alick!" she cried in a voice of exquisite tenderness.

"My queen!" he said kneeling, his honest upturned face wet with tears. "Lost and now found!"

[TO BE CONTINUED.]

THE ITALIAN MEDIÆVAL WOOD-SCULPTORS.

More or less during the whole of this century, and ever more during the recent years of it, the love of art, especially in what have been called the "industrial" manifestations of it, has been becoming a passion in Germany and in France, as well as in England and America. Museums for the collection and preservation of the works produced by the artists of those centuries which were the palmy days of art have been established in all these countries, and private amateurs have vied with them in enriching their respective countries with specimens of all the many kinds of art-industry which remain to us from those times when religion encouraged and surrounded itself with the beautiful and the cultivation of the beautiful was a religion. And it is mainly--indeed, almost entirely--to Italy that the lovers and admirers of mediæval art come in search of those remains of it which, it is hoped, will be (or rather are being) the means of producing a second art _renaissance_. The quantity of objects, more or less genuinely representing the mediæval art in all its many branches, which has been carried out of Italy within the last quarter of a century is something perfectly astounding, and far exceeds what any one would believe who has not remained in Italy long enough to observe the process. A considerable portion, no doubt, of the articles thus carried home with them by the lovers of art has consisted of modern imitations of ancient workmanship, but the quantity of genuine mediæval articles--pottery in its various kinds, furniture, carving in wood, in marble, in stone and in ivory, lace, bronzes, embroidery, metal-work, brocaded stuffs, etc.--has been so enormous as to reveal in a very striking manner the extraordinary wealth of the country in the days when it was the mistress of Europe in civilization, and the all-pervading love of the beautiful which caused so very large a portion of that wealth to be expended for the gratification of a refined taste.

Before proceeding to the more special subject of this article--certain interesting and recently-discovered notices of some of the most famous of the old carvers in wood--it may be well to say a word or two on the subject of the commerce in imitations of the mediæval works so extensively carried on in Italy. Of course, a trade based on deception is in every way to be condemned and regretted. It is not only immoral, but it generates demoralization. But it is to be observed that in very many cases--especially in those branches where art-industry approaches the most nearly to art proper--the artist or artisan who produced the works in question has neither co-operated with the fraud we are speaking of, nor has worked with any view to the perpetration of such by others. In the next place, it is to be noted that the mortification and humiliation which many purchasers are conscious of when it is brought home to them that they have been taken in, and have purchased as old that which is in truth of recent production, may well be spared to them. I do not mean, of course, as regards the money they may have been cheated of, but as regards the slight put upon their own connoisseurship. The art of imitating the old works in question has been brought to such a pitch of perfection that it needs a very special education of the eye and large practice to detect the imposture. A circumstance occurred a few years ago at Florence which curiously illustrates both the facts I have mentioned--the frequent innocence of the producer of the imitation and the extreme difficulty of detecting the modern origin of the work. The facts are very little known, because it was the interest of many persons to misrepresent and conceal them. They ought, nevertheless, to be known, and I do not see any good reason why I should not tell them here.

A young man at Florence of the name of Bastianini--it must be at least ten years ago now, or perhaps more--of very humble origin had shown a remarkable talent for modeling busts in terra-cotta. Having formed his taste for himself, not by means of any academical teaching, but by imbuing his mind with the examples of mediæval art which meet the eye on all sides in his native city, his works assumed quite naturally the manner and style of the artists who (in more or less direct line) were his ancestors. One day it happened to him to see a man--he was a common workman in the tobacco manufactory--whose head struck him as specially marked by the old Florentine mediæval type and as a remarkably good subject for a characteristic bust. From this man he made a terra-cotta bust which few could have pronounced to be other than a _cinque-cento_ work, and a very fine one. Bastianini, then quite unknown and much in need of wherewithal to live, sold this bust as the work of his hands to a speculative dealer for, if I remember rightly, five hundred francs. The man who bought it carried it to a dealer in antiquities--a very well-known man in Florence whose name I could give were it of any interest to do so--and proposed to sell it to him for a large sum. Eventually, a bargain was struck on this basis: The dealer, with perfect knowledge of the origin and authorship of the work, was to pay one thousand francs for the bust, and to pay the seller another thousand if and whenever he, the dealer, should succeed in reselling it for more than a certain price named. Thereupon, in accordance with the usual practice in such cases, the bust disappeared from sight. It was stored in the secret repositories of the _antiquario_ till the circumstances attending its creation should be a little forgotten, and dust and dirt should have corrected the brand-new rawness of its surface, ready to be produced with much mystery as a recent _trouvaille_ when a likely purchaser should loom over the Apennine which encircles "gentile Firenze." In due time, one of the largest and brightest of those comets whose return is so accurately calculated and eagerly expected by the Florentine dealers in ancient art made his appearance in the Tuscan sky--no less than a buyer for the Louvre. Those were the halcyon days of the Empire, and money was plenty. Poor Bastianini's bust was brought out with all due mystery, duly admired by the infallible French connoisseur, and eventually purchased by him for the imperial collection for, I think, five thousand francs--at all events, for a sum sufficiently large to give the man who had bought the bust from the poor artist the right to demand his supplementary payment. He did so. But the greed of the dealer prevailed over his prudence, and he refused to give his accomplice in the fraud the promised share in the plunder. Of course that ensued which might have been expected. The defrauded rogue "split." The bust sold to the Frenchman was easily identified with that which Bastianini had made, and which had been known to all artistic Florence, and the authorities at the Louvre were duly certified by many a loud-tongued informer that they had been gulled. The information, as is usually the case with information of the kind, came too late to be of service to the buyers, but not too late to give them serious annoyance. The bust had been exhibited at the Louvre in a prominent place; it had excited considerable notice; none of the savants presiding over that establishment had conceived the smallest suspicion of its genuineness; and it was excessively disagreeable to have to admit that they had all been deceived by a work made the other day by an unknown Florentine artist. It was so disagreeable that the gentlemen in question had not the courage to face the truth. They pooh-poohed their informants, professed to adhere without a doubt to their own first opinions, and the bust, to the great amusement of all the Florentine art-world, remained in its place of honor at the Louvre, exhibited as a cinque-cento terra-cotta for a long time after all Florence was perfectly cognizant of its real history, and after the young artist had produced three or four other busts all equally marked by unmistakable cinque-cento characteristics. One of these was a really remarkable bust of Savonarola, which may be seen any day in the (now public) gallery of St. Mark's at Florence. The original _teterrima causa belli_ has, I believe, disappeared from the Louvre Gallery. Poor Bastianini died shortly afterward, and it is due to his memory and undoubtedly great talent that it should be distinctly understood that from first to last he was no party to or profiter by the frauds to which his special talent had given rise.

To return, however, to what I was saying about that large portion of the works of art and art-industry every year exported from Italy, mainly by individual buyers for the gratification of their own taste, which consists of _imitations_. It may be remarked, especially as regards the objects belonging to the latter category, that these imitations, if bought as such, are not undesirable purchases. In many instances, particularly in those of iron- and bronze-work, intarsia, and carving in wood, the modern Italian artists, who began as imitators, have attained a degree of excellence which entitles them to take rank as the founders of a new artistic _renaissance_, while their familiarity with cinque-cento art and the loving study of it have led them to produce work in each of the above-named branches which is calculated to improve the taste of both workers and purchasers in countries beyond the Alps. As regards metal-work, whether in iron or bronze, avowedly modern, but of the true cinque-cento type and style, the amateur would do well to visit the foundries and workshops of Venice; for intarsia he may go to Milan; for wood-carving to Florence, Siena and Perugia; to the last also for intarsia. He will find in Perugia work both in carving and intarsia on which he might spend his money very much more advantageously than in buying second-rate bits of really old wood-work, or indeed any such bits as he is at all likely to meet with. And it is not surprising that the little Umbrian hill-city should have become a special home for this particular branch of art; for it contains some of the most remarkable works of the kind extant, the product of some of the most renowned masters of the craft in the fifteenth and sixteenth centuries. It is a mistake to suppose, as many persons do, that the fine works of this kind which we still admire were the product of men who were considered in their day as mere artisans, and whose names were not known beyond the boundaries of their native provinces. They were recognized as true artists, whose names were known from one end of the Peninsula to the other, and who were sent for from distant cities to execute works of importance. In many cases their names have perished: in more they are unknown to the present generation of art-lovers--_caruerunt quia vate sacro_. And in some cases--as a very notable instance, to be mentioned presently, will show in a remarkable manner--the higher portion of the merit which was wholly their own--the conception of their designs, with all the grace of fancy and cultured knowledge of the principles of the beautiful which it implies--has been assigned to others to whom the modern world has exclusively given the title of artists. But the increased and still increasing attention which the world is paying to all the details and all the branches of cinque-cento art--to good purpose, for it is due to it that we have emerged or are emerging from the eighteenth-century depths of ugliness in all our surroundings--has induced the useful Dryasdusts, whose nature and function it is to burrow in corporation and conventual muniment-rooms and the like promising covers, to search out with a very considerable degree of success a mass of facts, not only as to the real authorship of the work in question, but curiously illustrative of the status these artists held and the manner in which they lived and worked. Among the principal of these archive-hunters is the learned Professor Adam Rossi, the corporation librarian at Perugia, and it is mainly to his researches that the facts I am about to lay before the reader are due.

One of the finest specimens of cinque-cento wood-work extant in Italy--perhaps I might safely say the finest--is the choir of the monastic church of St. Peter at Perugia. The monks of St. Peter were Benedictines of Monte Cassino, and, like most of the families of that order, they were very wealthy and were liberal patrons of art. On the 9th of April, 1525, having determined to refit the choir of their church in a magnificent manner, they came to an agreement with a master-carpenter of Perugia for the execution of the work, and a detailed contract was signed by the parties. (I have called this cinque-cento work, and it will be observed that it was executed in the sixteenth century. It may be necessary, therefore, to explain to those who are unacquainted with the Italian mode of speaking in this respect that the Italians always speak of what we should call the fourteenth century as the "trecento," what we should call the fifteenth, as the "quattrecento," and so on. The period at which art in all its branches culminated in Italy was, in our language, the sixteenth century.)

Maestro Bernardino di Luca, the artist with whom the convent contracted for the fitting of the choir, is styled in the instrument _legnaiuolo_ (a "carpenter"). And no doubt Maestro Bernardino--or "Bino," for short, as he is called in the instrument when once at the beginning he has been named formally at full length--practiced all the more ordinary business of his trade. But there must have been carpenters _and_ carpenters, as to the present day there are painters _and_ painters, the same word indicating the calling of a Landseer and of a house-painter. This simple modesty of designation was a characteristic of the epoch. We find sculptors whose works are to the present day admired and studied as masterpieces styling themselves simply "stone-cutters." The contract is a long document, consisting of twenty-one clauses, the greater number of which are occupied with the most minute and detailed specification of the work to be done. It is to be executed "according to the model made by the said Bino, changing it or keeping it as it is according to the will of the fathers" (the monks of St. Peter's), "so as not to change the form and substance of the model." The prices agreed to be paid for each stall in the choir, with its arch above it, is ten golden ducats, which, allowing for the change in the value of the precious metals, may be considered to be about equal to three hundred and seventy-five dollars at the present day. The price does not seem by any means a small one. But Signor Rossi's researches have elsewhere shown that it is a mistake to suppose that the renowned professors of any branch of art were poorly paid in those days. The very reverse was the case. It would not be interesting to the reader to give him the details of the work which Maestro Bino bound himself to execute, but some of the stipulations must be mentioned, because they curiously illustrate the life of the times. The convent is to furnish all the wood--that which is required for the work itself, as well as all that may be needed, planks, scaffolding and the like, for the putting of it in its place. "_Item._ We give him rooms to work in and to sleep in and to cook in, as well as beds furnished with bedclothes. _Item._ Maestro Bino binds himself not to undertake any other work till the choir is wholly finished and put up, and he engages to do all the work within the walls of the convent. He is bound to keep four men at work under him, and more if necessary." The work is to be completed within two years should no impediment intervene by death or grave and manifest illness. The convent undertakes to furnish money from time to time as needed for the pay of the journeymen, and fifty ducats beforehand for the hiring of assistants and other necessary expenses.

Maestro Bino went to work at once, and on the 15th of that same April had from the convent what seems the very large sum of ten florins and eight soldi for glue. But, after all, this Maestro Bernardino di Luca was not the author of the exquisite carvings which people go to Perugia to look at at the present day. A very "grave and manifest infirmity" did intervene to prevent the execution of the work, for on the 19th of the following August, Maestro Bino discharged his workmen on account of the plague, which had begun to devastate Perugia; and there is reason to think that the maestro himself perished by it, for after that last entry the name of Bernardino di Luca vanishes into the abyss of darkness, and is no more heard of, and shortly afterward we find the convent entering into a new bargain with another maestro for the execution of the work. This was Maestro Stefano de Antoniolo da Zambelli of Bergamo, who agreed with the monks in July, 1533, to execute the required works in the choir for the price of thirty golden crowns each stall. It will be observed that this price is about fifty per cent. higher than that for which Maestro Bino had contracted to do the work, which is an indication of the then rapidly-falling value of the precious metals. But this increased price was still insufficient, for on the 17th of July, 1534, the monks enter into an amended contract with Maestro Stefano, in which the terms of the original contract are rehearsed, and it is then declared that Maestro Stefano having shown and proved to the abbot's satisfaction that those terms could not stand, and that he should be greatly the loser by the bargain, and it being by no means the wish of the fathers that Maestro Stefano should be deprived of a fair reward for his work, but rather that he should make a suitable profit by the job, it was now agreed that the maestro should undertake to labor uninterruptedly and with all possible diligence, that the convent should find all materials and tools, and should maintain Maestro Stefano and his wife and a journeyman, and should pay sixty golden crowns a year as long as the work was in progress. Further, the convent undertakes to pay half a golden crown monthly to the wife of the said Maestro Stefano, "on the understanding that the said wife of the maestro shall serve and cook and wash clothes for all the family engaged on the work of the choir;" and further, half a golden crown monthly to the journeyman. Under this arrangement it was of course the interest of the convent that the work should be completed as quickly as possible. And we find, accordingly, the abbot commissioning Antonio of Florence to carve six of the backs of the stalls; Battista of Bologna and Ambrose, a Frenchman, to carve the reading-desk; and Fra Damiano of Bergamo, who was then at Bologna, to execute the four sculptures in bas-relief which adorn the door. This Fra Damiano, who signs himself on his work "Fr. Damianus de Bergamo, Ordinis Predicatorum," seems to have been a brother of the principal artist, Maestro Stefano. But a curious peep at the manners of that time is afforded by the fact of a professed monk working for hire as a wood-carver. The main portion of the work, however, and the general design, were due to Maestro Stefano da Zambelli of Bergamo, and just two years and half from the signing of the contract the work was completed and signed in intarsia, as we see it to this day, "Hoc opus fecit M^{r.} Stephanus di Bergamo."

For a long time it was supposed that the very beautiful designs for the entirety and for each detail of this noble work was due to Raphael. The guide-books all copied the statement one after the other; and they were indeed excusable in doing so, for the large and magnificent folio which was published at Rome by the abbot and monks in 1845, containing engravings of every detail of the celebrated carvings, declares on the title-page that the work was executed "by Stefano da Bergamo after the designs of Raffaelle Santi di Urbino." The celebrated and learned Montfaucon, who was a member of the same order, seems to have been the first who made this mistaken statement. Once made on such authority, it was accepted and repeated without further investigation till the undeniable evidence of the archives of the convent, dragged to light from under the dust of centuries by the industry of Professor Rossi, showed that in truth the conception and design, as well as the execution, of this beautiful masterpiece, which has for so long been thought worthy of Raphael, was the work of the "carpenter, Maestro Stefano da Bergamo."

I do not believe that it is any longer possible to obtain a complete copy of the above-mentioned work. Many years ago I found the separate sheets of it lying about in the sacristy in a manner which gave one a vivid idea of the reckless carelessness which is so marked a characteristic of Italians. Bundles of the different plates, some containing forty or fifty copies, some twenty or so, and some not more than four or five, were thrust into cupboards with wax candles for the altar, tattered choir-books and old candlesticks. And here was the whole remaining stock of the work! I was at that time able, by the exercise of much patience, trouble and persuasion with the old sacristan--who seemed to consider the sale of the plates a very insufficient recompense for the trouble of looking for them--to get together a complete copy of the work; but when I was there the other day not more than twenty of the plates out of nearly twice that number were to be found. In the mean time, however, a complete set of photographs of every portion of the sculpture has been made in a smaller size, but sufficiently large to give a very satisfactory representation of the extreme beauty and elegance of the work. It is indeed impossible to doubt that this Master Stephen of Bergamo, the carpenter, whose wife was to have half a crown a month for doing the washing and cooking for all the family living in the rooms assigned to them in the monastery for a workshop and living-rooms, was a man of education and culture, and in every sense of the word an _artist_. The difference between his social position and that of any artist of corresponding eminence in our day would seem to consist wholly in that greater degree of personal and material luxury which civilization and increased wealth have brought with them. The payment which he was to receive for his year's work, besides having been maintained, lodged and fed at the cost of the monastery during the time, may, I take it, be considered equivalent to about twenty-two thousand five hundred dollars.

In 1494, on the 5th of April, Maestro Mariotto di Paola, "called Torzuolo," contracts with the canons of the cathedral to make a range of cupboards in the sacristy. Such masses of wood-work, very frequently richly carved and ornamented, are found in the sacristies of most of the larger churches in Italy. They generally consist of a range of deep drawers below, up to about the height of an ordinary table, and above this a series of cupboards reaching to the ceiling of the apartment, so much less deep than the drawers as to leave a large space of table on the top of the latter. The drawers are used mainly for the keeping of the sacred vestments; the table for the spreading out of such of these as are about to be or have just been used; and the cupboards above for the holding of all the treasures of the church--chalices for the altar, monstrances for the exposition of the sacrament, reliquaries of all sorts of shapes and sizes for the preservation of the relics of saints, ornamental candlesticks, and such like. In the richer and more important churches these objects are generally of the precious metals, and frequently richly adorned with gems, so that the amount of treasure stored in these repositories is often very considerable. Sometimes such a range of wood-work as has been described will be found filling one side only of the sacristy, but in many cases it runs round the whole apartment. And this piece of ecclesiastical furniture therefore presented a great field for the taste and ingenuity of the old _maestri_ in wood-carving to exhibit their skill both in design and in execution. At the Benedictine monastery of St. Peter, of the choir of which we have been speaking, this fitting up of the sacristy had been done previously; and it is accordingly much less rich in carving than the work in the choir. But some of the doors of the cupboards are still more preciously ornamented by some very finely-painted heads from the hand of the great Perugino.