Chapter II: Front Matter (2)

'I can not tell you, my dear sir, how grateful I am to you for this. It would have pained me more than I can express, if Scip had suffered for doing a disinterested kindness to me.'

Early in the morning we were again on our way, and twelve o'clock found us seated at a dinner of bacon, corn-bread, and waffles, in the 'first hotel' of Georgetown. The Charleston boat was to leave at three o'clock; and, as soon as dinner was over, I sallied out to find Scip. After a half-hour's search I found him on 'Shackelford's wharf,' engaged in loading a schooner bound for New-York with a cargo of cotton and turpentine.

He was delighted to see me, and after I told him I was going home, and might never see him again, I took his hand warmly in mine, and said:

'Scip, I have heard of the disgrace that was near being put upon you on my account, and I feel deeply the disinterested service you did to me; now, I _can not_ go away without doing _something_ for you--showing you in _some_ way that I appreciate and _like_ you.'

'I likes _you_, massa,' he replied, the tears coming to his eyes; 'I tuk ter you de bery fuss day I seed you, 'case, I s'pose'--and he wrung my hand till it ached--'you pitied de pore brack man. But you karnt do nuffin fur _me_, massa; I doan't want nuffin; I doan't want ter leab har, 'case de Lord dat put me har arn't willin' I shud gwo. But you kin do suffin, massa, fur de pore brack man, an' dat'll be doin' it fur _me_, 'case my heart am all in dat. You kin tell dem folks up dar, whar you lib, massa, dat we'm not like de brutes, as dey tink we is. Dat we's got souls, an' 'telligence, an' feelin's, an' am men like demselfs. You kin tell 'em, too, massa--'case you's edication, and kin talk--how de pore wite man am kep' down har; how he'm ragged, an' starvin', an' ob no account, 'case de brack man am a slave. How der chil'ren can't get no schulein', how eben de grow'd-up ones doan't know nuffin--not eben so much as de pore brack slave, 'case de 'stockracy want dar votes, an cudn't get 'em ef dey 'low'd 'em larnin'. Ef your folks know'd all de truf--ef dey know'd how boff de brack an' de pore w'ite man, am on de groun', an' can't git up, ob demselfs--dey'd do suffin--dey'd break de Constertution--dey'd do _suffin_ ter help us. I doan't want no one hurted, I doan't want no one wronged; but jess tink ob it, massa, four million ob bracks, an' nigh so many pore w'ites, wid de bressed Gospil shinin' down on 'em, an' dey not knowin' on it. All dem--ebry one ob 'em--made in de image ob de great God, an' dey driven roun' an' 'bused wuss dan de brutes. You's seed dis, massa, wid your own eyes, an' you kin tell 'em on it; an' you _will_ tell 'em on it, massa;' and again he took my hand while the tears rolled down his cheeks; 'an' Scip will bress you fur it, massa--wid his bery lass breaf he'll bress you; an' de good Lord will bress you, too, massa; he will foreber bress you, for he'm on de side ob de pore an' de 'flicted; his own book say dat, an' it am true, I knows it, fur I feels it _har_;' and he laid his hand on his heart, and was silent.

I could not speak for a moment. When I mastered my feelings, I said: 'I _will_ do it Scip; as God gives me strength, I _will_.'

Reader, I am keeping my word.

This is not a work of fiction. It is a record of facts, and therefore the reader will not expect me to dispose of its various characters on artistic principles--that is, lay them away in one of those final receptacles for the creations of the romancer--the grave and matrimony. Death has been among them, but nearly all are yet doing their work in this breathing, busy world.

The characters I have introduced are real. They are not drawn with the pencil of fancy, nor, I trust, colored with the tints of prejudice. The scenes I have described are true. I have taken some liberties with the names of persons and places, and, in a few instances, altered dates; but the events themselves occurred under my own observation. No one acquainted with the section of country I have described, or familiar with the characters I have delineated, will question this statement. Lest some one who has not seen the slave and the poor white man of the South, as he actually is, should deem my picture overdrawn, I will say that 'the half has not been told!' If the whole were related--if the Southern system, in all its naked ugliness, were fully exposed--the truth would read like fiction, and the baldest relation of fact like the wildest dream of romance.

* * * * *

The overseer was never taken. A letter which I received from Colonel J----, shortly prior to the stoppage of the mails, informed me that Moye had succeeded in crossing the mountains into Tennessee, where, in an interior town, he disposed of the horse, and then made his way by an inland route to the free States. The horse the Colonel had recovered, but the overseer he never expected to see. Moye is now, no doubt, somewhere in the North, and is probably at this present writing a zealous Union man, of somewhat the same 'stripe' as the conductors of the New-York _Herald_ and the Boston _Courier_.

I have not heard directly from Scipio, but one day last July, after a long search, I found on one of the wharves of South street a coasting captain who knew him well, and who had seen him the month previous at Georgetown. He was at that time pursuing his usual avocations, and was as much respected and trusted as when I met him.

A few days after the tidings of the fall of Sumter were received in New-York, and when I had witnessed the spontaneous and universal uprising of the North which followed that event, I dispatched letters to several of my Southern friends, giving them as near as I could an account of the true state of feeling here, and representing the utter madness of the course the South was pursuing. One of these letters went to my Union acquaintance whom I have called, in the preceding pages, 'Andy Jones.'

He promptly replied, and a pretty regular correspondence ensued between us, which has continued, at intervals, even since the suspension of intercourse between the North and the South.

Andy has stood firmly and nobly by the old flag. At the risk of every thing, he has boldly expressed his sentiments every where. With his life in his hand and--a revolver in each of his breeches-pockets, he walked the streets of Wilmington when the secession fever was at its hight, openly proclaiming his undying loyalty to the Union, and 'no man dared gainsay him.'

But with all his patriotism, Andy keeps a bright eye on the 'main chance.' Like his brother, the Northern Yankee, whom he somewhat resembles and greatly admires, he never omits an opportunity of 'turning an honest penny.' In defiance of custom-house regulations and of our strict blockade, he has carried on a more or less regular traffic with New-York and Boston (_via_ Halifax and other neutral ports) ever since North-Carolina seceded. His turpentine, while it was still his property, has been sold in the New-York market, under the very eyes of the government officials, and, honest reader, _I_ have known of it.

By various roundabout means, I have recently received letters from him. His last, dated in April, and brought to a neutral port by a shipmaster whom he implicitly trusts, has reached me since the previous chapters were written. It covers six pages of foolscap, and is written in defiance of all grammatical and orthographical principles; but as it conveys important intelligence in regard to some of the persons mentioned in this narrative, I will transcribe a portion of it.

It gave me the melancholy tidings of the death of Colonel J----. He had joined the Confederate army, and fell, bravely meeting a charge of the Massachusetts troops, at Roanoke.

On receiving the news of his friend's death, Andy rode over to the plantation, and found Madam P---- plunged in the deepest grief. While he was there, a letter arrived from Charleston, with intelligence of the dangerous illness of her son. This second blow crushed her. For several days she was delirious and her life despaired of; but throughout the whole, the noble corn-cracker, neglecting every thing, remained beside her.

When she returned to herself, and had in a measure recovered her strength, she learned that the Colonel had left no will; that she was still a slave, and soon to be sold, with the rest of the Colonel's _personal property_, according to law.

This is what Andy writes about the affair. I give the letter as he wrote it, merely correcting the punctuation and enough of the spelling to make it intelligible:

'W'en I hard thet th' Cunnel hadent leff no wil, I was hard put what ter dew; but arter thinkin' on it over a spell, I knowed shede har on it sumhow; so I 'cluded to tell har miseff. She tuk on d----d hard at fust, but arter a bit, grew more calm like, and then she sed it war God's wil, an' she wudent komplane. Ye knows I've got a wife, but w'en the ma'am sed thet, she luk'd so like an angel, thet d----d eff I cud help puttin' my arms round har, an' huggin' on har, till she a'moste screeched. Wal, I toled har I'd stan' by har, eff evrithing went ter h----l, an' I wil, by----.

'I made up mi minde to onst what ter dew. It war darned harde work tur bee 'way from hum jess then, but I war in fur it; soe I put ter Charleston, ter see th' Cunnel's 'oman. Wal, I seed har, an' I toled har how th' ma'am felte, an' how mutch shede dun at makein' th' Cunnel's money, (she made nigh th' hul on it, 'case he war alers keerles, an' tuk no 'count uv things; eff 't'aden't been fur thet, hede made a wil,) an' I axed har ter see thet the ma'am had free papers ter onst. An' whot der ye s'poze she sed? Nuthin', by ----, 'cept she dident no nuthin' 'bout bisniss, an' leff all uv sech things ter har loryer. Wal, then I went ter him--he ar one on them slick, ily, seceshun houn's who'd sell thar soles fur a kountterfit dollar--an' he toled me th' 'ministratur hadent sot yit, an' he cudent dew nuthin' till he hed. Ses I: 'Ye mean th' 'oman's got ter gwo ter th' hi'est bider?' 'Yas,' he sed, 'the Cunnel's got dets, an' the've got ter bee pade, an' th' persoonal prop'ty muste bee sold ter dew it.' Then I sed, 'twud bee sum time 'fore thet war dun, an' the 'oman's 'most ded an uv no use now; 'what'll ye _hire_ har tur me fur.' He said a hun'red fur sicks months. I planked down the money ter onst, an' put off.

'I war bilin' over, but it sumhow cum inter my hed thet the Cunnel's 'oman cudn't bee _all_ stun; so I gose thar agin, an' I toled har what the loryer sed, an' made a reg'lar stump-'peal tew har bettur natur. I axed har ef she'd leff the 'oman who'd made har husban's fortun', who war the muther uv his chil'ren, who fur twenty yar hed nussed him in sickness an' cheered him in healtf, ef shede let _thet 'oman_ bee auckyund off ter th' hi'est bider. I axed al thet, an' what der ye think she sed? Why, jest this. '_I_ doan't no nuthin' 'bout it, Mister Jones. Ye raily must talke ter mi loryer; them matters I leaves 'tirely ter him.' Then I sed I s'posed the niggers war ter bee advertist. 'O yas!' she sed, (an' ye see she know'd a d----d site 'bout _thet_,) 'all on 'em muss bee solde, 'case ye knows I never did luv the kuntry; 'sides _I_ cuden't karry on the plantashun, no how.' Then sed I: 'The Orleans traders 'ill be thar, an' she wun't sell fur but one use, fur she's hansum yit; an' ma'am, ye wun't leff a 'oman as white as you is, who fur twenty yar hes ben a tru an' fatheful _wife_ tar yer own ded husban', (I shudn't hev put thet in, but d----d ef I cud help it,) ye wun't put _har_ up on the block, an' hev har struck down ter the hi'est bider, ter bee made a d----d ---- on?'

'Wal, I s'pose she haden't forgot thet fur more'n twelve yar the Cunnel hed _luv'd_ t'other 'oman an' onely _liked_ har; fur w'en I sed thet, har ize snapped like h----l, an' she screetched eout thet she dident 'low no sech wurds in har hous', an' ordurd me ter leave. Mitey sqeemish thet, warn't it? bein' as shede been fur so mony yar the Cunnel's ----, an' th' tuther one his raal wife.

'Wal, I _did_ leav'; but I leff a piece of mi mind ahind. I toled har I'de buy thet ar 'oman ef she cost all I war wuth and I had ter pawne my sole ter git the money; an' I added, jest by way uv sweet'nin' the pill, thet I owed all I hed ter har husband, an' dident furget _my_ dets ef she did _hern_, an' ef his own wife disgraced him, I'd be d----d ef _I_ wud.

'Wal, I've got th' ma'am an' har boy ter hum, an' my 'oman hes tuk ter har a heep. I doan't no w'en the sale's ter cum off, but ye may bet hi' on my bein' thar, an' I'll buy har ef I hev ter go my hull pile on har, an' borrer th' money fur ole Pomp. But _he'll_ go cheap, 'case the Cunnel's deth nigh dun him up. It clean killed Ante Lucey. She never held her hed up arter she heerd 'Masser Davy' war ded, fur she sot har vary life on him. Don't ye feel consarned 'bout the ma'am--I knows ye sot hi' on har. _I'll buy har_ shore. Thet an' deth ar th' onely things thet I knows on, in this world, jess now, that ar SARTIN.'

Such is Andy's letter. Misspelled and profane though it be, I would not alter a word or a syllable of it. It deserves to be written in characters of gold and hung up in the sky, where it might be read by all the world. And it _is_ written in the sky--in the great record book--and it will be read when you and I, reader, meet the assembled universe, to give account of what _we_ have done and written. God grant that our record may show some such deed as that!

FOOTNOTES:

[Footnote 1: The whisky was kept in a back room, above ground, because the dwelling had no cellar. The fluid was kept safely under lock and key, and the farmer accounted for that by saying that his negroes would steal nothing but whisky. Few country houses at the South have a cellar--that apartment deemed so essential by Northern housekeepers. The intervening space between the ground and the floor is there left open, to allow of a free circulation of air.]

[Footnote 2: No regular dinner-hour is allowed the blacks on most turpentine-plantations. Their food is usually either taken with them to the woods or carried there by house-servants, at stated times.]

SOUTHERN RIGHTS.

The right to poison bullets,
The right to rifle graves,
To cut our prisoners' gullets,
Or treat them like our slaves;
The right to use the savage
To aid us in our fight,
To freely scalp and ravage,
Each is a Southern right.
Call not these claims Satanic,
They're far beyond your ken:
How can a low mechanic
Know aught of gentlemen?

MACCARONI AND CANVAS.

VI.

ON THE PINCIO.

With that wise foresight, shared by all European rulers, the Roman Pincio was undoubtedly wedded to its purpose of keeping the idle ones very busy at the very time of day when revolutionary plots find the best hearing--before dinner. Whirling around its walks in carriages, or gently promenading under trees, among rose-bushes, and by fountains, while a large band of musicians play with spirit fine selections from the last operas, or favorite airs from old ones; the eye gratified by the sight of pleasant faces, or dwelling enraptured on the beautiful landscape spread before it--how can the brain disengage itself to think of Liberty, won through toil and battle, only to be preserved by self-denial and moral strength?

But the traveler who travels only to travel, and has the means and spirit to find pleasure wherever he goes, thinking only of what he sees, enjoys to its fullest extent the luxurious seat of the hired, white-damask-lined carriage, drawn by stalwart, heavy-limbed, coal-black horses, with sweeping tails, the white foam flying from the champed silver bits, the whole turn-out driven by a handsome, white-gloved, black-coated Roman. In solemn state and swiftly, he winds up the zig-zag road leading from the piazza Popolo, (so-called from _popolo_, a poplar-tree, and not as the English will have it, from _popolo_, the people,) and at last reaches the summit of Roman ambition--the top of the Pincian hill. He passes other carriages filled with other strangers like himself, or with titled and fashionable Romans, and finally, his carriage drawn up to one side of the broad drive in front of the semi-circle where the band plays, he descends, to walk around and chat with the friends he may find there.

Toward sunset the scene is full of animation. The sabres of the cavalry soldiers, on guard to prevent infraction of rules, gleam brightly; the old infantry soldiers are darting here and there, chasing away sundry ownerless dogs, who always make it a point to promenade the Pincio; the Italian nurses from Albano, or at least dressed in Albanese costume, shine conspicuous in their crimson-bodiced dresses; Englishmen going through their constitutional; Frenchmen mourning for the Champs Elysées; artists in broad-brim hats smoking cigars; Americans observing Italy, so as to be like Italians; ladies of all nations commanding the attention of mankind as they sweep along the hard-rolled gravel-walks; smiles, bows, looks of love, indignation, affection, coquetry; faces reflective of great deeds and greater dinners ... every face bright in the lambent amber light that streams from the sun dipping his head preparatory to putting on his night-cap, and bidding Rome _felicissima notte!_ a most happy night.

Over the irregular walls of the subdued white and mellow gray houses and palaces, beyond the Tiber running red in the dying sunlight, over the round-walled castle of San Angelo, the dome of Saint Peter's rises full in the midst of the twinkling, hazy, red and golden light. Passing the stone-pines crowning Monte Mario, there gleam away to the left the far waters of the sea, over which the purple mist of young night tenderly, softly falls. Once thoughtfully noted, you will remember this glowing scene years after sublimer and wilder views are lost to memory or grown so faint that they are to you but as dull colors seen in dreams of old age compared to the flashing brightness of those presented to the closed eyes of youth.

As the sun sets and those in carriages and on foot slowly leave the hights of the Pincio, and descend once more to the old city, you will hear, as the evening star shines brighter and brighter, the first liquid, thrilling notes of the nightingales; then as you lean over the stone parapet, dreamily looking into the dense foliage of trees and shrubs beneath you, you will feel the beauty of those lines:

Seek the nightingale's sequestered tower,
Who with her love-lorn melody
So bewitched thee in the vernal hour:
When she ceased to love, she ceased to be.

It is from the months of May to November, when travelers have left Rome, and the city is in the hands of the Romans, that your walks on the Pincio will prove something more than a mere repetition of a stroll in Baden-Baden, or a revival of ideas common to the Prado or Prater. No longer the little prettinesses of the Medicean Venus flirt by you in the nervous silks that flutter along these walks, but something nobly womanly, of a solid past, slow and stately, moves solemnly, by. We know the lives of these copies of the Venus of Milos, we know its most commonplace and vulgar attributes, but we know, too, its strength! The city of Rome holds in its women the mothers of heroes, when Providence shall withdraw the black veil now hung over their rude minds, and let in the light of knowledge. We who laugh at their sad ignorance, think what we would be without liberty--our minds enslaved, geography tabooed! Egypt is a paradise compared to Rome.

The advantages of foreign travel to an intelligent American are to teach him ... the disadvantages of living any where save in America. And though the artistic eye dwells with such loving repose on the soothing colors of Italy, and particularly on the subdued white and gray tones of Roman ruins and palaces, walls and houses, yet the owner of that artistic eye should restrain his wrath at the fiery red bricks of our own cities, for let him reflect that this color goads him on, as it doth a bull, to make valorous efforts--to do something!

Looking down from the stone balustrade of the Pincio on the piazza Popolo, we note two churches, one on either side of the Corso; their architecture is neither more nor less hideous than nine tenths of the other three hundred and odd churches of Rome; the same heavy, half-cooked look about doors and windows, suggesting cocked-hats of the largest size on the heads of dwarfs of no size at all; the same heavy scroll-work, reminding one of the work of a playful giant of a green-grocer who has made a bouquet of sausages and cabbages, egg-plants and legs of mutton, and exhibits it to a thick-headed public as a--work of art. O Roman _Plebs!_ lay this nattering unction to your soul--we did not do that!

The history of all nations seem to indicate successive ages of grub and butterfly-life; certainly Rome has been a grub long enough. Let us hope the sun of Victor Emmanuel, the King of Gallant Men, will hasten the time when the Romans shall wing their way to the light of Liberty. These mockeries of architecture shall then stand as warning fingers to the Romans of the sad days that were; the days when mind and body were enslaved, and the grinning monkey held the dove tight-clutched in his brutal grasp. Through sword and fire public taste must pass before it is purified: the mountain-stream, dashing along with bounding steps, is clear and sparkling, but in the long stretch of level pastureland or prairie it is still and--dirty.

It may be well to descend and wander through those close and narrow streets where the waste-water of old Roman aqueducts makes green and damp the foundation stories of gloomy houses, and where the carefully-nurtured traveler sees sights of smoked interiors, dirt and rubbish in the streets, that terrify him; but let him remember that in the worst of these kennels the inhabitants have never forgotten that they had a Past, and the 'I am a Roman Citizen!' still rings in their ears, eats into their hearts, and is at their tongue's end. Monsieur About was in Rome when Caper was there; he saw these Romans through Napoleonic spectacles: while one foot was trying to stamp on Antonelli gently, the other was daintily ascending the shining steps leading to the temple of Gallic fame. He is impressed with the idea that the Romans are hangers-on of hangers-on to patricians, from which we are to infer, if the patricians are ever hung, there will be a heavy weight to their feet!

Rocjean, one afternoon, after a walk on the Pincio, was returning to his studio, when, as he descended to the Via Babuino, he met a Roman artist named Attonito, who cultivated the English.

'Ow arr you toe-day, my dear?' he asked Rocjean.

'Quite well, except a slight attack of bad English, from which I hope to recover in a few minutes.'

'Pray tell unto me th-hat weech is bad Englis.'

'Haven't you been on the Pincio?'

'Yas, I tak' consteetutionails up there avery afternoons; it is a costume Englis' th-hat I vary moche cotton to.'...

'W-hat! Cotton to? Why, that is a clear Americanism; where did you pick it up?'

'Meester Caper of Noo-York, he told unto me it am more elegant as to say, I love, or I affection. Bote, 'ave you saw that bu-tee-fool creechure with 'air of flags?'...

'What!'

''Air of flags; 'ow you name eet? _Capellatura di lino?_'

'Oh! you mean tow-head?'

'Toe! no, no! I mean _lino_.'

'Ah! yes, flaxen hair.'

'_Benissimo!_ Vary well, flagson 'air and blue eyze. Shhe was in carri-adge with Lady Blumpudy. I go avery afternoons to inspect her as she takes the airs on the Pincio, Eet would gife me great pleasures to ally myself to her in marriage compact, bote I do not know eef she has a fortune. Do you know any theengs?'

'Yes, a great many; one of which is that it is my dinner-time, and as I turn down the Condotti--good afternoon.'

'Goo-ood by, my dear,' answered Attonito, as he slowly wandered up the Piazza di Spagna.

Another example of the beneficial effects of the Pincio on the _bourgeoise_, thought Rocjean. When will the alarm-bell in the clock of Roman time ring out its awaking peal?

ROME BY NIGHT.

If one would realize the romantic side of Rome in all its stately grandeur, and receive a solemn and ineffaceable impression of its beauty, by all means let him, like Quevedo's hero, sleep 'a-daytime' and do his sight-seeing by moonlight or star-light; for, save in some few favored quarters, its inspection by gaslight would be difficult. Remember, too, that all that is grandly beautiful of Rome, the traveler has seen before he reaches the Imperial City--with the eyes of understanding, with the eyes of others--in books.

Nothing but a heap of old stones, bricks, and mortar is there here for the illiterate tourist--he can have six times as jolly a time in Paris for half the money that he pays 'in that old hole where a fellow named Culius Jæsar used to live.'

As if the night were not sufficiently dark in this city, there are always those who stand ready with the paint-brush of fancy to make it even of a darker hue; whisperings among the travelers in hotels of certain Jim Joneses or Bill Smiths who have been robbed. Yes, sir, early in the evening, right there in the Corso: grabbed his watch and chain, struck him on the head. You know he was a powerfully built man; but they came behind him, and if he hadn't have done so and so, the rascally Italians would have killed him, and so forth.

'Re-al-ly; well, you won't catch me out at nights!'

There rises up, as I write, the figure of a slim young man, of the day-time negro-minstrel style of beauty, who once dwelt three weeks in Rome. I know that he was profound in knowledge of trick and vice, and that he had an impediment in his speech--he could never speak the truth. He told a fearful tale of a midnight robbery in the Piazza di Spagna--himself the victim. It was well told, and I ought to know, for I read it years before in a romance, only the scene was, in type, laid in Venice. According to this negro-minstrel style of youth, he had been seized from behind, held, robbed of watch and elegant gold chain, red coral shirt-studs, onyx sleeve-buttons, and a porte-monnaie containing fifty scudi, etc., etc. He was the theatrical hero of the hotel for two days, and the recipient of many drinks. Time, the cater of things, never digested this falsehood, and months after the youth had left, I learned that he had lost all his jewelry and money at--twenty-deck poker.

A few nights after Caper was domiciled in the Via Babuino, Rocjean called on him, and as he entered his room, carefully extinguished a taper, and was putting it in his pocket, when Caper asked him what that was for?

'That! it's a _cerina_. Have you been two weeks in Rome, and not found out that? Why, how did you get up-stairs at night?'

'There was a lamp in the entry.'

'None there to-night, so I had to light this. It's only a long piece of wick, dipped in wax; you see you can roll it up in a ball, and carry it in your pocket, so! Without this and a box of matches, you can never hope to be a good Roman. You must have seen that where the houses have any front-doors, three quarters of them are open all night long; for, as on every floor of a house, there live different families, they find it saves trouble--trouble is money in Rome--to leave the door unclosed. These dark entries, for they are seldom lighted, offer a grand chance for intrigues, and when you have lived here as long as I have, you will find out that they--improve the chances. A _cerina_, in addition to keeping you from breaking your neck, by tumbling down stone stairs, gives light to avoid the stray dogs that sleep around loose, and to see if there is any enemy around who wants to give you a few inches of cold steel. You may laugh at robbers here; but you may cry for mercy in vain to a Roman who seeks _vendetta_--revenge, you know. Bad way to use foreign words; but we all do it here. Speak an Italianized English after a time, the effect of had examples. But come, if you want to see Rome by moonlight, it's time we were off.'

As they reached the street, Caper asked Rocjean where he could buy the _cerina_.

'At any _dragheria_' said the latter.

'Good, there is a druggist's store up the street--Borioni's.'

'A _dragheria_ means a grocery-store in Rome. If you want molasses, however, you must go to the _farmacia_ for it, [that is the Roman for druggist's shop,] and you will buy it by the ounce.'

'Live and learn,' said Caper, as they entered the grocery and bought the _cerina_-price, one baioccho a yard.

'And now let us walk out to Saint Peter's, and see the church by moonlight.'

'The want of sidewalks in this city,' remarked Rocjean, 'compelling the Romans to walk over cobble-stones, undoubtedly is the cause of the large feet of the women, added to their dislike of being in pain from tight shoes or boots. For genuine martyrdom from tight shoes, French, Spanish, and Americans--but chiefly Cubans--next to Chinese women, are ahead of the world.'

'But apart from the fact that they do walk on the narrow sidewalks in the Corso, I have noticed that in the side-streets, even where there is a foot-walk, nobody takes advantage of it at night.'

'For a good reason, as we shall probably see,' said Rocjean,' before we reach the bridge of San Angelo. But keep close to me in the middle of the street.'

The moonlight shone brightly down the narrow street they were then walking through, which, but for this, the occasional dim light of an oil-lamp hung in front of a shrine, the light from a wine or grocery shop, and the ruddy blaze of a charcoal-fire, where chestnuts were roasting for sale, would have been dark indeed. The ground-floor of very few Roman houses is ever occupied as a dwelling-place; it is given up to shops, stables, etc., the families residing, according to their wealth, on the lowest up to the highest stories; the light purses going up and the heavy ones sinking. They had walked nearly to the end of this street, when, happening to look up at the fourth story of a house, he saw something white being reversed in the moonlight, and the next instant a long stream of water, reminding him of the horse-tail fall in Switzerland, came splashing down where a sidewalk should have been.

'What do you think of the middle of the street now?' asked Rocjean.

'Let's stick to it, even if we stick in it. I'm going to buy an umbrella, _and spread it too_, when I go out of nights, after this.'

They reached the bridge of San Angelo, and studied for a short time the fine effect of the moonlight shining on the turbid, slow-flowing Tiber, and lighting up the heavy pile of the castle of San Angelo. Then they reached the Piazza of Saint Peter's, and here the scene was imperial. Out and in through the semi-circular arcade of massive pillars the moonlight stole to sleep upon the soft-toned, gray old pavement, or was thrown in dancing, sparkling light from the two noble jets of water tossed in the clear night-air by the splashing fountains. In all its gigantic proportions rose up, up into the clear blue of the spangled sky, the grand thought of Michael Angelo--the dome of Saint Peter's.

Returning from Saint Peter's, Rocjean proposed to walk through the Trastevere, the other side of the Tiber, and to cross over the river by the ponte Rótto or broken bridge. They found the street along the river very quiet; here and there a light showed, as on the other side, a wine-shop or coffee-room; but the houses had few lights in them, and spite of the moonlight, the streets looked gloomy and desolate.

'They seem to keep dark this side of the river,' said Caper.

'Yes,' answered Rocjean, 'and live light. They go to bed for the most part early, and rise early; they economize fifty-one weeks in a year, in order to live like lords for the fifty-second--that is Carnival-week. Then you shall see these queenly Trasteverine in all their bravery, thronging the Corso. But here is a clean-looking wine-shop, let us go in and have a foglietta.'

They found the shop full of thirsty Romans--it is safe to say that--although the number of small flasks showed they could not indulge their taste so deeply as they wished to. The centre of the listening group of Romans, was a bright-eyed, black, curly-haired man, who was reciting, with loud emphasis:

THE LIFE AND DEATH

OF THE PERFIDIOUS ASSASSIN,

ARRIGO GARBETINGO OF TRENTO,

Who slew nine hundred and sixty-four grown
persons and six children.

He had already got through his birth and wicked childhood, and had arrived at that impressive part where he commences his career of brigand at large, accompanied by a 'bool-dog':

'He had a bull-dog of the English breed, oh!
More savage than all others that we've seen, oh!
Close at his side it always walked, indeed, oh!
And never barked! but then his bite was keen, oh!
When on some poor man straight he sprung, take heed, oh!
His soul from body quickly fled, I ween, oh!
Because with cruel, gnashing teeth he tore, oh!
Him all to pieces, in a manner sore, oh!'

The reciter here stopped to drink another tumbler of wine, upon which Caper and Rocjean, having finished their pint, paid their scot and departed.

'Was that an improvisatore?' asked Caper.

'He might pass for such with a stranger of inflammable imagination, who didn't know the language,' answered Rocjean. 'He is, in fact, a reciter, and you can buy the poh, poh-em he was reciting at any of the country fairs, of the man who sells rosaries and crucifixes. It is one of the cent-songs of the Papal States, published _con licenza_, with license; and a more cruel, disgusting, filthy, and demoralizing tendency than it must have on the people can not well be imagined; and there are hundreds of worse.'

While Rocjean was talking they had crossed the ponte Rótto, and as he finished his sentence they stood in front of the ruined house of--Cola di Rienzil, 'Redeemer of dark centuries of shame--the hope of Italy, Rienzi, last of Romans!'

'Well,' said Rocjean, as he halted in front of the ruined house, and looked carefully at the ornamented stones still left, 'when Saint Peter's church shall be a circus, this house shall be a shrine.'

'That being the state of the case,' spoke Caper, 'let us walk up to the Trevi fountain and see the effect by moonlight of its flashing waters, and inhale the flavor of fried fish from the adjacent stands.'

They stood in front of the wild waters dashing, sparkling over the grand mass of tumbled rocks reared behind the wall of a large palace. Neptune, car, horses, tritons, all, stone as they were, seemed leaping into life in the glittering rays of the moonlight, and the rush and splash of the waters in the great basin below the street, contrasted with the silence of the city, left a deep impression of largeness and force on the minds of the two artists.

'Let us go down and drink the water, for he who drinks of it shall return again to Rome!'

'With all my heart,' said Caper; 'for if the legend has one word of truth in it, Garibaldi will be back again some _bello giorno_----'

'_Bello giorno_ means fine day; _giorno di bello_ means a day for war: I drink to both!' spoke Rocjean, dipping water up in his hand.

They returned to the street, and were walking toward the Piazza di Spagna, when they overtook two well-dressed men evidently none the better for too much wine. As they passed them, one of the men said to the other:

'J-im! I don't see but what we-we-'ll have to r-r-roost out-tall night. I don't know 'ny 'talian, _you_ don't know 'ny 'talian, we-we-'re nonpl'sh'd, I'm th-think'ng.'

'Ary borry boutére spikinglish?' said the other one to the two artists, as they were walking on.

'Yes,' said Caper, 'four of 'em. If you've lost your way we'll set you right. Where's your hotel?'

''Tel? Why, 'Tel Europe p'aza Spanya. Are you English?'

'No, sir! I'm an American born, bred and--buttered,' said Caper.

'B-bullyf'ryou! We'resame spishies--allrite--d-driv'on!'

'Look here,' said the one of the two men who was least tipsy, 'if this tother g-gen'leman and I could stick our heads into c-cold water we'd come out tall right.'

'It's only a block or two back to the Trevi fountain,' answered Caper, 'and if your friend will go with you, you'll find water enough there.'

They went back to the fountain, and descending the steps with some difficulty, the two men soon had their heads pretty well cooled off, and came up with cleared intellects and improved pronunciation. In the course of conversation it appeared that the two travelers, for such they were, after rather too much wine at dinner in their hotel, had been invited to the German Club, where Rhine wine, etc., had finished them off: attempting to return to their hotel alone, they had lost their way. As the four walked along, it came out that one of them owned a painting by Rocjean, and when he discovered that one of his guides was no other than that Americanized Frenchman, the whole party at once fraternized, and disregarding any more moonlight effects, walked at once to Caper's rooms, where over cigars and a bottle of Copalti's wine they signed, sealed, and delivered a compact to have a good time generally for the week the two travelers intended devoting to Rome. The moral of which is ... that you make more friends than meet enemies--walking round Rome by night.

THE MYSTERIOUS IN ART.

They were in the presence of a man with flowing hair, flowing beard, and flowing language, in a studio, all light from which was excluded by heavy curtains, except enough to display an easel on which was placed a painting, a background of dark blue where were many apparently spider and crow-tracks.

'Those who in the profundity of their darkness incline to the belief that the vitality of art, butterfly-like, has fled from this sunny world, have made the biggest kind of a mistake,' said Mr. Artaxerxes Phlamm, the Mystic Artist, to Caper. The hit was evidently intended for Rocjean, but that descendant of the Gauls, for some reason, did not smite back again; he contented himself with the remark:

'Art is long.'

'Yes, sir,' continued Mr. Phlamm, 'not only it has length, but breadth, breadth, broadness--it extends from--yes--from--pole to pole.'

'Like a clothes-line,' said Caper.

'Ah!' continued Phlamm, with a pickled smile, 'Fancy, ever Fancy, but it is Imagination that, as it were, brings man to a level with his destiny and elevates him to the Olympium hights of the True, and all that rises much above the meedyochre. But I must not forget that this is your first visit to me studeeyoh. The painting on the easel is a view of Venice on the Grand Canal.'

'But,' said Rocjean, 'I do not see the canal.'

'When you are gazing at the stars do you see your boots?' asked Phlamm.

'I always do,' spoke Caper quickly, 'always gaze at 'em at night--smoke a cigar--put my feet higher than my head--sit in a chair--stars reflected in boots--big thing!'

'You are full of life and spirits, Caper,' continued Phlamm, 'full of 'em; but Rocjean is more serious, more imbued with his nobil calling. My illustration, as he understands, would convey the idea that such a thing as foreground in a painting is false; it's a sham, it's a delusion, and all that. It may do for pre-Raffleites, but for a man who looks Naychure in the face, he sees her operating diversely, and he works according. I repeat it again, when I was on the Grand Canal in Venice, I didn't see the Grand Canal.'

'Neither did I,' spoke Caper, 'we're just alike; I kept my head all the time out of the gondola-window looking for pretty girls--and I saw them!'

'May I ask why you dead-color your canvas blue, and then make your drawing in black outline?' asked Rocjean.

'What is the color of the sky? Is it not blue? Is not blue a cold color; is it not the negative to the warmth, the balance to the scales, the one thing needed on which to rear the glorious fabric that Naychure reveals to the undimmed vision of man? I know your answer, and I refute it. I have studied Art from its roots, and now I'm in the branches, and I grasp the fruit. My manner is peculiar--I have no patent for it--I ask for none. The illimitable passes the legitimate, and the sw-word is carried by the hero--for me the bruzh, the paint-bruzh. You see that painting before you--it is my child--I lavish on it my intentions--I am going to work three years on that picture!'

'I bet you a new hat you sell it, and a dozen more, and send 'em off before six months. You're all the rage now since you sold old Goldburg a picture,' quoth Caper.

'I don't bet, I am opposed to betting. But look that picture of mine in the face, in the face! Here is a finished painting, The Lake of Zurich; see those clouds floating mistily away into the far distance--there's atmosphere for you--there's air! You can't cut those clouds into slices of cheese as you can them of that humbug of a Cloud Lowrain. Cloud Lowrain! he's a purty painter! Naychure is my teacher. I go out mornings and hear the jackdaws chatter, and see trees and all that; sometimes I walk around in a garden for ten minutes and commune with Naychure--that's the way to do it. Look at clouds before you paint 'em--I know it's hard when the sun's in your eyes, but do it--I've spent a week at a time out-doors, like Wordsworth and the great, the grand, the colossial Ruzking.'

'I like that water,' said Rocjean, alluding to that of the painting.

'Water is my peculiar study; I am now engaged experimenting on it--see there!' Here Phlamm pointed to a basin.

'Been washing your hands?' asked Caper.

'Scientifically experimenting, not manually. Water is soup-or-fish-all--earth is not soup-or-fish-all.'

'Our dinners are, during Lent,' quoth Caper, 'unless we're heretics.'

'I don't understand your frivolity--what do you mean?'

'Didn't you say, 'Soup or all fish?''

'Pshaw! You will never make an artist--never, never--_you_ are too, too superficiall, too much of the earth, dirty.'

'Oh! now I understand,' answered Caper; 'give it to me, I deserve it.'

'I was studying water, its shadows and its superficiality, in that basin,' continued Phlamm, 'and I study the ocean there, and have devolved great principles from it. What makes my pictures sought for by the high and the low, wealthy? What? It's the Truth in 'em, the Mystery, the Naychure. The old masters were humbugs, they weren't mysterious, they had no inner sight into the workings of Naychure. Who'd buy one of their pictures when he might have a Turner for the same price? Nobody.'

'Wouldn't he?' asked Caper. 'Try him with a Raphael, just a small one.'

'Raphael? You mean Raffaele. Ah! he _was_ a painter, he wasn't one of the old masters, however, he was a middle-age master. What sweetness, what a kind of--sweetness generally; what a blending of the prayerful infant with the enthusiastic beauty; the--the polished chastity of his Mad-donas; the folds of his drapery, and--the drapery of his folds. Truly enchanting, and so very uncommonly gentlemanly in his colors.'

'The Chesterfield of oil-colors?' suggested Rocjean. 'But _à propos_ of Nature, you never paint a picture directly from her, do you?'

'Never! Does a great historical painter use the model? No, sir; he draws on his imagination for his figures. He scorns to copy from a model. I convey the impression of mystery that Naychure gives me; I am no servile copyist. And I claim to leave an impression on the minds of the beholders of my works. Why, even Caper, I believe, can see what I wish to tell, and read my poems on canvas. Tell me, Caper, what idea does even that rough sketch of Venice awake in your imaginative faculties, and all that?'

Caper's face wore a deeply thoughtful look, as he answered: 'I do see it; I do claim to read the lesson you would teach----'

'Speak it out,' interrupted Phlamm, 'I knew you would feel the deep, mysterious sentiment as is in it.'

'Spider-tracks and crows' feet on the blue mud of a big marsh,' spoke Caper resolutely.

'Pshaw!' exclaimed Phlamm impetuously; 'you have no Faith, and without that, all Art is a sealed thing. Goldburg, to whom I lately sold a painting, had faith; he saw the grand idea which I explained to him in that picture; he knew that the Earl of Bigbarns had purchased a work of mine, and he said to me: 'The opinion of such a man is an opinion as should be a valuable opinion to a business man, and govern the sentiments of those who worship Art.' Other artists see Naychure, but _how_ do they see her? I answer, blindly! They don't feel her here!' (Phlamm struck his waistcoat in fearful proximity to a pocket in it, and altogether too low for his heart.)

'Nay-chure,' said Caper to Rocjean, as they left this studio of the mysterious one, 'ruined a good Barnum to make a poor Phlamm, when she made him.'

A BATH-HUNT.

It is a mournful sight to see a city of one hundred and eighty thousand five hundred and thirty-nine inhabitants, including one thousand three hundred and thirty-one priests, two thousand four hundred and four monks, and eight hundred and fifty-four Jews, Turks, and heretics, as the census had it, attacked with hydrophobia. But it is so. A preternatural dread of water rages among all the inhabitants of Rome, from the untitled down to the titled.

'Madame,' said Rocjean to a distinguished female model, 'I assure you that, in the sixth century, [or as Sir Gardiner Wilkinson has it, in the five hundred,] there were nine thousand and twenty-five baths in this city.'

'Those must have been good times,' replied she, 'for the washerwomen, _seguro!_ There are a good many clothes of the _forestieri_ [strangers] washed here now; but not so many different places to wash them in.'

'I mean places to bathe one's self all over in.'

'_Mai!_ Never, never!' exclaimed the woman with horror; 'never! 'twould give them the fever, kill them dead!'

Mr. Van Brick, of New-York, arriving in Rome early in the morning, demanded of the porter at the hotel where he could find a _bagno_, or place where he could get a bath. He was directed to go down the Babuino, and at such a number he would find the establishment. Forgetting the number before he was three steps from the hotel, he inquired of a man who was driving a she-jackass to be milked, where the bath was. As he spoke very little Italian, he had to make up by signs what he wanted in words. The man, probably believing he wanted a church, and that his motions signified being sprinkled with water, pointed to the Greek church, and Van Brick, thinking it was a solemn-looking old _bagno_, strode in, to his astonishment finding out as soon as he entered that he was by no means in the right place. As he turned to go out, he saw an amiable-looking young man, with a black cocked hat in his hand, and a black serge shirt on that came down to his heels, and had a waist-band drawing it in over his hips. He asked the young man, as well as he could in Italian, where there was a _bagno_.

'The signore is English?' asked the youth in the black shirt.

'I want a bath,' said Van Brick, 'which way?'

'Have patience, signore. There are a great many English in Rome.'

'Farewell!' quoth Van Brick, turning on his heel, reflecting: 'That youth talks too much; he does it to conceal his ignorance; he don't know what a bath is.' Coming out of the church, he met a good-natured looking Roman girl, without any bonnet, as usual, going along with a bottle of wine and a loaf of bread.

'Can you tell me where the bath is?'

'_Chi lo sa_, signore.'

This CHI LO SA, or, 'who knows?' of the Romans, is a shaft that would kill Paul Pry. It nearly throws an inquisitive man into convulsions. He meets it at every turn. The simplest question is knocked to pieces by it. So common is it for a Roman of the true _plebs_ breed to give you this for an answer to almost every question, that Rocjean once won a hat from Caper in this wise: they stood one evening in front of a grocer's store, down by the Pantheon; it was brilliantly illuminated with hundreds of candles, displaying piles of hams, cheese, butter, eggs, etc., etc. Chandeliers constructed of egg-shells, where candles shone brightly, particularly struck Caper.

'You see,' said Rocjean, 'as anyone else can see, that those chandeliers are made of egg-shells. Now, I will bet you a hat that I will ask four men, one after another, who may come to look in this window, what those chandeliers are made of, and three at least, if not all four of them, will answer, 'Who knows?' (_Chi lo sa._)

'Done!' said Caper.

Rocjean asked four men, one after another. All four answered; 'Who knows?'

But to continue the bath-hunt: Van Brick was thrown over by the girl's answer, and next asked an old woman, who was standing at the door of a house, buying broccoli from a man with a hand-cart.

'Can _you_ tell me where the bath is?'

'The bath?'

'Yes, the bath.'

'Is it where they boil water for the English?'

'That must be the shop,' quoth Brick.

'That's the place,' pointing with her finger to a house on the opposite side of the way.

Van Brick crossed over, and after five minutes' hunt over the whole house, was coming down disheartened, when he saw a pretty girl, about eighteen years old, standing by the doorway.

'Can you tell me where the bath is?'

'_Seguro!_ I attend to them. You can't have a warm bath for two or three hours yet, for there is no fire; but you can have a cold one.'

'Well, let me have it as quickly as possible.'

'Yes, sir. We have no soap for sale, but you can get it two doors off.'

Van Brick went out, and after a time returned with a cake of soap.

'Signore,' said the girl, when he went back, 'the water is all running out of the hole in the bottom of the tub, and I can't stop it.'

'H'm! Show me the tub; I am a splendid mechanic.'

The hole being stopped, the tub was rapidly filling with water. Van Brick, in anticipation, was enjoying his bath; when in rushed the attendant.

'Signore, you will have to wait a few minutes--until I wash some towels.'