"You're a famous pedestrian in these days, Thorpe," I said, rising with a trifle of embarrassment from my seat as close to Miss Lenox's as the rocks permitted, "and an early riser too. When I got up this morning at half-past six I told myself that I should see nobody for three hours at least, yet both Miss Lenox and you equal me in my love for the early morning hours."

But Thorpe was indifferent, and I saw at once that his mind was too preoccupied to allow of his wasting a thought upon the reason of my rising earlier than usual. "If you got up at half-past six," said he coolly, looking at his watch, "you must be ready for your breakfast, for it is a quarter to nine."

"I shall go in," remarked Georgy, rising and shaking out her white skirts and putting herself to rights generally after the manner in which birds and women plume themselves. "Did you come to breakfast, Mr. Thorpe?" she inquired with bare civility.

"I thought of dropping in," he returned; and as I assisted Miss Lenox up the ledge I turned to see if he were following us. He seemed to be waiting, however, for us to get away, and when I gained another distant glimpse of him he was apparently searching for something in a crevice of the rocks. Yet we were scarcely on the back piazza, before he had rejoined us in high spirits, and I was conscious of a gleam in his eyes which I had never seen before.

I could not resist speculations upon the reasons of his intimacy at the house, but dismissed them all as idle, for I knew very well that the habits of a young man at a watering-place are made by the necessity of filling up the hours of the day with occupation. The cottagers have perfect leisure as a rule, and with amiable, courteous ways press upon all acquaintances an incessant hospitality; and Thorpe, always frivolous, had at once fallen into the general way. Here at The Headlands the house was still under the shadow of deep mourning, but his old acquaintance with Mr. Floyd and my mother made his frequent visits admissible. At any rate, beyond Mr. Floyd's unobtrusive sarcasm at his expense, I heard no objections to Thorpe's dropping in to breakfast. Mills brought him a plate, and he himself chose a seat at Helen's left hand, and devoted himself to her service in a way that I knew bored her immeasurably. He sugared her strawberries and creamed them generously, and she sent them to her parrot. "I will take some more strawberries, Mills," she said then, and treated Thorpe's further attempts to serve her with chilly disdain.

"Now that Floyd is here," said Mr. Floyd when we were through breakfast, "I shall indulge in laziness no longer, but shall sit by and see him work." And the result was that for the next two weeks he and my mother, Helen and I, all sat in Mr. Raymond's study for an hour or two every morning and looked over his papers. Two or three times Mr. Wickham the lawyer came from New York, and it was easy enough to see that Helen's property was so large, its investments so various, that its proper care was work enough for one man.

"I shall look about for a husband for her at once," Mr. Floyd said half a dozen times to the lawyer when we three men were alone: "nobody can expect me to waste my few energies in looking after all these interests."

"Depend upon it, sir," Mr. Wickham would return with an easy chuckle, "you will find the world full of young men who will be happy to relieve you of every responsibility regarding Miss Floyd's fortune."

"They shall none of them have her," her father exclaimed once, fiercely—"not one! No man but one who loves her for her sweet self alone shall ever have my little girl." At such times Mr. Wickham always looked at me with a critical curiosity which I could forgive in so old a friend of Helen's, but which at the same time robbed me of a certain composure I should have liked to carry through the difficulties of my present position. For I was, in truth, performing all the duties of an executor and mastering the details of the schedule of property, while Mr. Floyd sat by and made jokes upon the way Helen would spend her income.

"Hair-pins cost a great deal," he would affirm solemnly, "and pins. How much pin-money had the princess royal? Put down fifteen thousand dollars for hair-pins, black pins, white pins: what other pins do women use?"

"But," I would expostulate, "you must attend to this."

"And why?" he would ask, turning his fine melancholy eyes upon me. "Don't tire me out, Floyd."

We were alone, although my mother and Helen were almost within hearing on the balcony.

"I am willing to do everything for you, sir," I said, "but nevertheless it seems to me that it is scarcely prudent for you to entrust me with your duties. I am totally inexperienced; my knowledge of finance is the mere mastery of figures; I am—"

"Look here, dear boy," said Mr. Floyd in a kind but weary voice: "I am only trying to save you trouble. When I die you will take my place as Helen's executor and trustee. It would be harder then for you to learn the mystery of all these details by yourself. Now I am here to teach you."

ELLEN W. OLNEY.

[TO BE CONTINUED.]



TO THE RAINBOW.

O Iris! bringing balm for Summer's tears, So lightly gliding down thy bridge of rose, I know not why my spirit drinks repose Soon as thy footfall the horizon nears. Spellbound I watch the crimson-shaded piers As arch by arch the blooming pathway grows, And where the richest flush of color glows I trace thy trailing garments. Sighs and fears Have vanished: in one long and ardent gaze Thy steps I follow down the heavenly slope. Iris, be mine thy message! Let thy rays Write out how I with destiny may cope. Ah! spanned with light would be all coming days, Could I but read thy oracle of hope.

FRANCES L. MACE.



THE PARIS EXPOSITION OF 1878.

III.—FINE ARTS.

It is the "Memorial Hall" of the Champ de Mars—the Gallery of Fine Arts which there takes the place of the familiar building in Fairmount Park—that has decided the really great success of the Exposition of 1878. The unanimous verdict of popular admiration was given at Philadelphia to the machinery: in Paris it is as strongly pronounced in favor of the fine arts. Paris is, indisputably, the capital of modern art, and her title to this proud distinction is to-day confirmed by the assembled peoples with all the solemnity and authority of a universal congress.

I have, like all visitors no doubt, yielded to the seductive spell of this magnificent collection of objects of art, to which two worlds have contributed, and under the influence of the keen and exalted enjoyment of the first few days I should have found it impossible to qualify by a single censure the expression of my admiration. But after a short retirement in the country, where I allowed my mind to lie fallow, I found that I could revisit the galleries of the Champ de Mars with more judgment and method, and that the beauties of the first order, which I admired as much as ever, no longer made me blind to the defects and the weak points of certain parts.

First of all, it must be admitted that the Exhibition of this year is not equal to that of 1855; and this is no more than was to be expected, when one remembers that the latter had brought together the scattered masterpieces of the long period of half a century—a period illustrated by such names as Ingres, Delacroix, Decamps and others. This splendid assemblage of so many important works could not be repeated in 1867; and at that time there were unmistakable indications that a new artistic current had set in, and we saw the first rays of the coming glory of the painter of genre and of landscape—the triumph of Meissonier, of Gerome, of Theodore Rousseau, of Corot.

This year, the tiny, pleasing genre pictures are still very numerous, and in this respect the Exposition of 1878 is not unlike that of 1867, while in another aspect it is superior to it. If, on the one hand, we miss the names of the great masters of landscape, who, dying, have left no successors, we have, on the other hand, to hail the advent of some others who have risen above the level of genre and have returned to the traditions of high art: I refer to MM. Bonnat, J.P. Laurens and Baudry. Thanks to these great artists, one can assert with confidence that there has been an advance within the last ten years. And how art widens its borders and augments the number of its adepts! How many painters there are to-day!—of the second or of the third rank, to be sure, but masters of their business, skilful and conscientious. In 1867 the jury admitted but four hundred pictures. In 1878 it has had to receive eleven hundred! Evidently, French art is in the fulness of its summer bloom. Its decline will come, for Art, which knows no country, and has wandered from the East to the South, and from the South to the West, will doubtless travel still, and will some day leave Paris to dwell with other races and under other skies. But to-day her home is Paris—Paris, her well-beloved city.

Since 1871 especially, we have witnessed a fresh starting into life, an activity, indeed, almost feverish. In 1871 and in 1874 the Minister of Fine Arts officially recognized a general return toward serious and vigorous work, and in 1876 he bore testimony to the exceptional brilliancy of the Salon, which showed the "influence and impulse of a genuine revival."

Historical painting, unfortunately, can never be adequately represented at exhibitions. Designed for the civil and religious monuments of France, whence, from the nature of the case, they cannot be removed, its most important illustrations are to be found at the Opera, at the Palace of Justice and of the Legion of Honor, at the museums of Marseilles and of Amiens, the Hotel de Ville of Poitiers, and in the numerous churches of Paris and throughout the country. The immense work which Baudry has executed for the foyer of the Opera is absent from the Exhibition, and this great painter, whom some consider the first of his time, is not represented at the Champ de Mars by even a sketch. Fortunately, the Palace of Justice has parted with two principal works of Leon Bonnat, his Christ and Justice between Guilt and Innocence. The Pantheon has permitted the exhibition of the large decorative paintings in which Cabanel has represented the principal episodes of the history of St. Louis. But the largest historical canvases on the walls of the gallery are those by J.P. Laurens, belonging to the museums of Florence, of Havre, of Nantes and of Toulouse. Laurens delights in the Middle Ages, gloomy and stately periods of ecclesiastical domination and feudal violence. He is the painter of tortures and of tombs (the Exhumation of Pope Formosus, The Interdict, Francis Borgia before the Coffin of Isabella of Portugal), but his vigorous and severe genius never suffers him to fall into overstrained action and theatrical artifice. He does not move us by declamatory gestures and forced attitudes. Nothing can be more simple, yet nothing more affecting, than the Execution of the Duc d'Enghien and the Death of Marceau. Many young artists are following this new path, which has opened such success to M. Laurens. MM. Cormon, Dupain (in his Good Samaritan), Benjamin Constant (Entry of Mohammed II. into Constantinople), and Sylvestre (Locusta and Nero trying a Poison) have sent to the Champ de Mars the fine historical compositions that gained for them the first medals and the prize of honor at the last Salons. M. Tony Robert-Fleury has two vast canvases, the Sack of Corinth and the Reform of the Mad-house in 1795—large and admirable compositions, which engraving has already made popular. Of course we find M. Landelle's inevitable Eastern Dancing-Girl, and an Italian Woman by M. Hebert. There could be no exhibition without these. These two painters have talent, individuality, delicacy of feeling, but they are absolutely without imagination. M. Hebert, in particular, has learned nothing since his Malaria, which has been for a long time at the Museum of the Luxembourg. He has not discovered, nor even sought for, anything beyond this; and this eternal repetition of the same subject is a malady which afflicts too many of the artists of our day. One no longer distinguishes between the pictures of certain of our popular painters. Even M. Luminais never travels beyond his specialty, which is the barbarian Gaul, though he does vary somewhat the attitudes and physiognomy of his characters. Henner and Ribot, two great artists, who are better appreciated by their professional brethren than by the public, will undoubtedly gain much by this year's exhibition. The eulogy of competent criticism will be accepted as authoritative, and will compel the admiration of the crowd, which is not very apt to comprehend new and original forms in painting. Schopenhauer has classified the professions according to the degree of difficulty which they find in making their merits understood by the world at large; and he puts in the front rank, as the most quickly and easily comprehended and applauded, acrobats, dancers and players; philosophers come last of all; and immediately before them the painters.

Portraiture would seem to be more in esteem than ever. Everywhere along the walls are to be seen nothing but statesmen, poets and women of the world, whose identity is indicated in the official catalogue by initials only, but whom everybody recognizes at a glance. Many of these portraits are life-like and admirable in expression, and one can say of them what Victor Cherbuliez said of Mademoiselle Nelly Jacquemart's picture of Thiers: "The house is inhabited: some one is looking out of the window." This time Mademoiselle Jacquemart exhibits portraits of M. Duruy, M. Dufaure and a young lady. Singularly enough, she paints men better than she does women. Her portrait of Mademoiselle G—— B—— is very inferior to the others. Virility, in short, is the distinguishing characteristic of the talent of this woman.

M. Cabanel's portraits of women of the great world are conventionally painted, and with the coldness of manner which distinguishes him. One feels that if these fine creatures should speak they would utter nothing but the commonplaces which pass for conversation in the salons. The duchess of Vallambrosa—"the queen of the strand," as they call her at Cannes—Madame de Lavalette, the countess of Mercy-Argenteau, are all there, as if against their will and disdainful of the vulgar herd which is staring at them. To make amends, however, the duchess of Luynes is charming, surrounded and, as it were, adorned by her beautiful children. M. Cabanel is the recognized head of what may be called the official school. To get medals and crosses or the prize of Rome, to obtain commissions from government, it is now-a-days almost necessary to have been his pupil. Never had painter a more lofty position. Perhaps it is the opinion at the ministry of Fine Arts that Bonnat and Laurens will be so well paid by posthumous fame and the admiration of future generations that it is but fair to keep the balance between the masters even by rewarding M. Cabanel in his lifetime.

I have said that there are many portraits at the Exhibition, but I do not mean to complain of this. Indeed, we cannot too highly applaud the revival of this noble branch of art, to which we owe the Joconde of the Louvre and the Violin-player of the Sciarra Palace. Many a fair young girl unknown to fame, many a matron whose quiet life will pass unheeded by the world, will by her portrait enter into immortality. Torn, sooner or later, from the family roof and carried to a museum, there to be gazed upon by thousands of eyes, her smile or her reverie will recall for generations to come that sigh of Senancour's: "O woman that I might have loved!"

It is doubtful if this regretful tribute to genius—which may perhaps some day be heard before the portraits of Henner, of Bonnat or of Madrazzo—will ever be inspired by those of M. Carolus Duran. This artist is the painter of elegant trifles and worldly vanities, of grand and striking toilettes, of blondes in violet and yellow and brunettes in gray and rose, for, like M. Worth the man-milliner, it pleases his fancy to attempt the reconciliation of the most inimical colors. For the rest, the future will no doubt owe him a debt of gratitude for the precious evidence which his pictures will furnish of the dress of the period. Indeed, without the help of certain of our portrait-painters future investigators would find themselves sadly at a loss in reconstructing the Paris of Napoleon III. and of the Third Republic. We are so much under the influence of the past that our artists scarcely have the sentiment of the civilization which surrounds them. Our colleges send us into the world, not Frenchmen, but Greeks and Romans, knowing nothing of modern life, and inspired by our classical studies with a profound contempt for the manners and usages of the present day. Our statues, bas-reliefs, medals and pictures represent the events of all ages except our own. The attempts in the direction of realism of these latest days, the paintings of Courbet and Manet, seem, by a sort of instinctive preference, to seek out the ugly, rather than to give us an exact reproduction of contemporaneous Nature. Some of our genre painters—Millet, for example, and Jules Breton—have, it is true, studied the actual and the modern, but their types are all taken from the rustic class, and it is safe to say that outside of portraiture neither the men nor the women of the world will leave a trace upon the art of the period.

Let us note, however, one exception to this statement. I refer to certain painters of military scenes who have chosen to call up the spectre of the Franco-German war—Edouard Detaille, Neuville, Boulanger. These have ventured to depict one side of modern life—and an important one, alas!—modern warfare, not by showing us those episodes of classical combat where half a dozen cavaliers, mounted upon their heavy historical horses, fight hand to hand for the possession of a flag, and trample under foot a wounded wretch whose very pose is traditional, but by giving us actual scenes witnessed during the autumn of 1870 and the winter of 1871—scenes often frightful, but always grandly effective and worthy of art. A sentiment of diplomatic propriety, with which the Germans were but little troubled at Philadelphia, has naturally kept these paintings out of the Champ de Mars, and banished them to Goupil's in the Rue Chaptal. We certainly do not complain of this, but we cannot help regretting that modern life should be so slightly represented in the art of an epoch indued with a life so intense. There are laurels yet to be won in the field of serious painting—triumphs such as Balzac, Thackeray and Tourgueneff have achieved in literature, and Gavarni in caricature, by the faithful representation of phases of modern life.

Since so many Frenchmen are converted by their early classical training not only into citizens of Rome or of Athens, but into veritable pagans, we naturally find the Exhibition full of gods and goddesses, of demigods and nymphs—the Truth of M. Jules Lefebvre, for instance, and his Vision, losing itself in the mists of morning; the Sarpedon of M. Levy; M. Bouguereau's Flora and Zephyr and Meeting of Nymphs; the Naiads of Henner, etc. Amongst all these mythological tableaux one's attention is arrested by the striking productions of M. Gustave Moreau, a remarkable union of technical ability and poetical fancy—hallucinations of an opium-smoker who should be able to paint his visions with all the confidence and knowledge of a master. Paul de Saint-Victor, the eminent critic, has called these canvases "painted dreams;" and they cannot be better described. Hercules fighting the Hydra of Lerna, Salome, Jacob and the Angel, Moses exposed upon the Nile, are dazzling phantoms, which, eluding the literal text of history, recede to the depths of an unknown past. We do not think of discussing their accuracy: we are absorbed in admiration of this wondrous art, at once subtle and splendid, which makes us dream of lost civilizations and buried empires. Gustave Moreau is more than a painter: he is a magician and his pencil is an enchanter's wand.

For the rest, we have plenty of archaeological painters, who painfully restore antiquity for us, following accurate authorities and examples. The curiosity to know the past, which has created a literature of its own, the researches of travellers and of learned men, the excavations made in Greece, in Asia Minor, in Africa, at Pompeii, have led many artists to search for new effects in this direction. Every one will recall the circuses and the Roman scenes of Gerome. This year he exhibits hardly anything but modern Oriental subjects—Turkish baths, Bashi-Bazouks and lions—but his pupils have now taken the place which their master held in 1867. Hector Leroux, one of the thousand and one painters of this Neo-Grecian school, shows us a Toilette of Minerva Polias and A Miracle in the Temple of Vesta, his most celebrated work. Gustave Boulanger exhibits his Roman Baths, his Roman Comedians rehearsing their Roles, and his Roman Promenades, which the wealthiest amateurs, MM. Aguado, Andre, Stebbins, contended for at the late Salons; M. Lecomte du Nouy his Pharoah slaying the Bearers of Evil Tidings and his Homer Begging; while M. Alma-Tadema completes the group with his best-known pictures, including The Studio of an Antique Painter, An Audience at the House of Agrippa, and The Vintage at Rome, which was also at Philadelphia. Americans will remember the young reddish-haired priestess of Ceres, so elegantly attired and coiffee, advancing with torch in hand and followed by flute-players. The details, which are multiplied almost to profusion, are all calculated to enhance the effect, and are distributed with exquisite art. The amount of research which this work suggests is almost incredible, and it was perhaps a more laborious undertaking to paint the Vintage at Rome than to write the Carthaginian romance of Gustave Flaubert. Alma-Tadema exhibits in the English gallery, and his contribution has raised the average of that section by a good third. If I have spoken of this painter in connection with the pupils of Gerome, it is that, considering his place of birth (Dromvyp, Netherlands), I think that I have an equal right with the English to classify him according to my fancy.

But let us leave the remote antiquity in which the poet-painters of the Neo-Greek school delight to dwell, and come back to modern times. Passing through one of the central rooms, one is struck by the appearance of a great space of gilded wall hung with pictures considerable in number, but mostly quite diminutive in size. It needs no reference to the catalogue nor to the signature of these works to tell us the name of their author. If the singular talent which they display were not enough, the mise en scene would leave no doubt that this extraordinary piece of wall has the honor of supporting the exhibit of M. Meissonier. M. Meissonier holds a great position in contemporary art—a fact which is known to everybody, and to no one better than to M. Meissonier. But it was in 1867 rather than in 1878 that he ought to have gilded his wall. It was in the former year that he exhibited his 1814, his Reading at Diderot's and other incomparable works, which placed him beyond all dispute at the head of the French school. To-day he shows us but one considerable work, the Cuirassiers of 1805, and fifteen small pieces—very pretty things, but then he has taught his pupils to imitate him too well! They have so often and so skilfully counterfeited the art of their master that the dignity of his work seems lessened and its value diluted, as it were, until for the substance we are given the shadow, and the tableau is replaced by the tableautin. The same tendency to contraction is apparent in every country. Paintings are growing smaller, as if to keep in proportion with the small modern salons. That this is due to the great influence of M. Meissonier there is no doubt, but no diminution of his own fame accompanies the dwindling of his pictures.

And yet there are half a dozen painters at the Champ de Mars who lack nothing but the golden wall to make them the equals of the master. M. Detaille is absent, but we have M. Worms, with seven little chefs d'oeuvre; M. Vibert, with his Departure of the Spanish Bride and Bridegroom, the Serenade, and the Toilette of the Madonna; M. Firmin Girard, with his Flower-Girl; M. Berne-Bellecour, in his famous Coup de Canon; MM. Fichel, Lesrel, Louis Leloir and others whom I have not space to mention, as exact and as minute in detail as their chef, and, moreover, almost as well paid by amateurs, especially Americans.

Landscape-painting mourns the loss of its greatest masters. Amongst all the painters, Death seems to have singled out the paysagistes by preference. Since the last Exhibition how many have gone! Chintreuil, Belly, Corot, Courbet, Daubigny, Millet, Diaz, are no more. A few canvases recall them—the Wave of Courbet, an admirable effect of snow by Daubigny, and four or five pictures by Corot—but one regrets that the illustrious dead have not had the honor of a room apart. The members of the jury have been careful to keep the best places for their own works, while the masterpieces of departed genius have been banished to the top of the walls or half hidden in corners. M. Cabanel and M. Bouguereau fill whole rooms with their pale compositions, and—Millet is absent!

Has the school of French landscape-painting survived these serious losses? We may reply with confidence that it has. This very year, in the Exposition of the Champs Elysees, the Haymaking of M. Bastien Lepage reveals a great painter. At the Champ de Mars there are admirable landscapes by living artists—Hanoteau, who with such masterly power of execution bends and crooks in every direction the knotted branches of his giant oaks; Emile Breton, painter of the melancholy scenes of winter; Harpignies, faithful interpreter of the varying aspects of the valley of the Allier under all the changes of day and season; Eugene Feyen and Feyen-Perrin, who delight us with the sea-coast of Brittany and its fisher-women and bathing-women; Van-Marcke, who is less than the successor, but more than the imitator, of Troyon; and finally, MM. Pelouse and Sege, representatives of new forces and processes.

Americans are supposed in Paris to prefer highly-finished and elaborate work, like that of Gerome, but I have seen in America examples of the painter who elaborates least of all, who lays on his colors in the boldest manner—in a word, the painter of general effect, Isabey. It is refreshing to meet again, here, his Wedding-Feast, a delightful repose to the eye, almost wearied with minute perfection of detail.

Before quitting the labyrinth of French art we must not forget a class of painters who have received a great deal of admiration, and who deserve it, whatever rank one may be disposed to assign to their special branch of art. I refer to the painters of still-life. There is Vollon, for instance, whose name suggests those wonderful representations of armor, of rich goldsmith's work, superb tapestries and damascened metal, to say nothing of the equally admirable counterfeits of warming-pans and saucepans, which delight the lover of nature-morte. We find here his famous kettle of red copper, sold at a price which might suggest that it was of solid gold. Amateurs and dealers pronounce Vollon the first of painters in his specialty, though there are some who profess a preference for his rival, Blaise-Desgoffes, of whom there are three examples in the Exposition; and though these are only Venetian glass, Gothic missals, jewel-boxes and the like, there are some of them worth thirty thousand francs at the very least: it will be understood that I speak of the paintings, and not of what they represent. Philippe Rousseau displays not less than a dozen pictures, and the names of their owners, Alexandre Dumas, the baroness de Rothschild, Barbedienne, Edouard Dubufe, etc., show how much he is the mode. Indeed, it is impossible to imagine cheeses more savory, fresher oysters, peaches and vegetables more inviting, and flowers—I had almost said more fragrant, so perfect is the illusion of reality.

But we must tear ourselves from these fascinating galleries, for should we write for ever we shall always be sure to forget some celebrity who deserves to be mentioned. We have said nothing of the scenes from fashionable life; nor of the dogs and horses which MM. Claude and J. Lewis Brown render so capitally; nor of the portraits of Perignon, Edouard Dubufe and Cot; nor of the flowers of Mademoiselle Escallier. Three great names, Jules Dupre, Rosa Bonheur and Puvis de Chavannes, are absent—one knows not why.

Belgium is next in order—thrifty Belgium, where painting is a commercial industry and its products an important article of exportation. The Belgian display in the Champ de Mars is certainly a considerable one in point of numbers, which will not surprise us when we remember that there are at least twelve art-schools in the country—to say nothing of the great academies of Brussels and Antwerp—where hundreds of young men are daily drilled in the grammar and technique of art. But genius is the gift of Nature, not of schools. All that the latter can bestow is probably here, but we miss the imagination, the variety, the sentiment of the born artist, and it needs no very critical examination of these paintings to show us that the acquired dexterity of the academy, the mere business of the painter, is almost the only characteristic of the Belgian school.

There are some examples of "high art," such as The Pope and the Emperor of Germany at Canossa in 1077, by M. Cluysenaar, a composition as cold as it is vast; some illustrations of the national history by M. Wauters, who reminds us, in some respects, of the great French painter Laurens, though lacking his power; and there are the historico-religious pictures of M. Verlat. But much the best things in the Belgian collection are the numerous works of a painter whose aims are not so high, and who in Brussels seems like an exile from Paris. M. Alfred Stevens draws his inspiration from fashionable life; and no Parisian could surpass the execution of his velvets and laces and the thousand new stuffs which Fashion invents every year—gants de Suede, and faces too of a certain type, the pretty chiffonnees faces of girls of every rank in life. But the pretty faces are, after all, mere accessories in a picture where the principals are the hat and the dress and the parasol, upon which, as any one can see, the artist has bestowed all his loving care. Nothing of his, however, in the Exposition can compare with his Young Mother, which I saw last year in the Academy at Philadelphia.

Next after Stevens, in point of reputation, comes M. Willems, who really belongs to the French school of Gerome, but who feels himself under obligation, in his character of Fleming, to paint nothing but what Terburg and Metzu painted two centuries before him. The man without a plumed hat and big boots and a great sword at his side has, for M. Willems, no existence. I would not say that he does not paint hat, boots and sword as well as the old Flemish masters themselves did, but while they drew from the life he paints at second hand, and the modern artist who passes his days in the vain effort to revivify the models of his predecessors will always rank below the masters whom he imitates, as M. Willems does, with so many others whom a false public taste encourages in a hopeless pursuit.

There are no landscapes in the Belgian section, if one may be allowed to except the marines of M. Clays, and yet Belgium can boast of at least one excellent paysagiste, M. Cesar de Cock, who, unfortunately, is not represented in the Exposition.

French painters have often been blamed for neglecting the material around them, and for trespassing upon the domain of foreign artists by representing Russian peasants and Italian beggars or selecting subjects from Spain or Japan; but I have looked in vain through the various galleries for any evidence that other countries are a whit less obnoxious to this reproach than our own. Each nation forages in its neighbor's field. Is it too much to hope that modern art may free itself from the bondage of a senseless fashion, and may take to the study of the living types close at hand? Russia and America, for instance, have shown themselves capable of producing a literature distinctively national and characteristic: must they ever remain without a school of art as indigenous to the soil, and shall their painting never have its Tourgueneff and its Bret Harte? The law of development may require that the birth of a nation's art shall succeed that of its letters—though the history of the Renaissance would seem to contradict this theory—but whether this be so or not, it is certain that one does not imagine one's self in Moscow while perambulating the Russian salon in the Champ de Mars, where the best representative of the national art, M. Siemiradski, has chosen for the two paintings which have deservedly won a medal of honor subjects from ancient Rome—the one an amateur hesitating in his choice between two articles of equal value—namely, a chased cup and a female slave—and the other representing a soiree of Nero. The subject of this last is horrible. The tyrant, crowned with flowers and surrounded by women and freedmen, descends from his palace. Attached to long poles and besmeared with pitch, ready for the fatal flame, are the living bodies of wretched Christians which will illumine to-night the gardens of Caesar. Living Torches is the title of the picture, which is one of the most successful paintings of the Exposition, and has given its author a high rank among contemporary artists.

The painters of the United States naturally feel the inspiration of the country of their sojourn, be it France or Italy or Germany, for most of them study abroad; but it is to be hoped that they will, after their return to their own beautiful land, find motives for grander and more picturesque studies than these hackneyed Old-World scenes of ours can afford. Mr. Bridgman has painted—and well painted too—the Obsequies of a Mummy upon the Nile, but why could he not as well have gratified us with some equally impressive scene from the life of the pioneers in the Far West, where wondrous landscape and romantic incident might so well combine to furnish a new sensation to the amateurs of London and Paris? Mr. Du Bois deserves our thanks for his View upon the Hudson, and so does Mr. J.B. Bristol for his upon Lake Champlain. The admiration which these two pictures have excited, amongst critics as well as the public, is evidence enough that these two painters, or Mr. Wyatt Eaton or Mr. Swain Gifford or Mr. Bolton Jones, may, if they so will, make American landscape the mode in Europe. Mr. J.M.L. Hamilton has, to say the least, damaged his prospects of success by a strangely inconsiderate choice of subject. Critics do not deny that his Woman in Black is firmly and solidly painted, but they are quite unanimous in the opinion—in which everybody agrees with them—that the composition is in the worst possible taste. I have a vague recollection of having seen this painting in Philadelphia, and Americans may recognize it by the general description of a woman smoking a cigarette and holding her knee with both hands. Altogether, it might have been tolerated in another age and country, which took no offence at the coarse manners of Dutch fairs and merrymakings, but we are not living in the time of the kermesses, and Mr. Hamilton, moreover, is not a Hollander, but a Philadelphian.

The contribution of Sweden, Norway and Denmark may be said to be, upon the whole, less important than that of the United States, and to show, perhaps, less ability in execution; but it has, upon the other hand, the charm of local interest, which the American collection lacks. It is refreshing to meet with these honest, simple little pictures of Scandinavian life, with its typical faces and figures, its costumes and interiors, all so little known to us, and so delightful from their novelty. Amongst the Danish painters we may note especially the names of Exner, Carl Bloch, Kroeger and Bache; and amongst the Swedes, those of Zetterstein, Ross and Hagborg, who follow very closely, in manner and composition, the German school of Duesseldorf.

Art is migratory. If she sojourns to-day in France, it is but as a guest who reposes a while ere she continues her unceasing journey. This reflection—with which we opened our rapid review of the Exhibition in the Champ de Mars—haunts us especially as we linger in the galleries devoted to Holland and Italy. Even in those favored lands, where Art once seemed to have fixed her eternal abode, the inspiration of genius is succeeded by the technical skill of the academician. There are excellent sea-pieces, by Mesdag and Gabriel in the Dutch gallery, but Italy, which has fairly crowded her allotted space with canvases, has nothing to challenge our admiration except a few pretty genre pictures. M. de Nittis—whom, by the way, we are apt to think of as a Parisian, but who is, it appears, Neapolitan—exhibits a dozen pictures quite as modern in conception as the latest scenes from the comedies of Henri Meilhac, and which will, one day, serve as valuable documents in the authentication of the manners and costume of the present epoch. Connoisseurs of the twenty-first century will curiously study our cavalcades in Hyde Park or upon the Brindisi road, the return from the races on the avenue of the Bois de Boulogne, and the hundred other incidents of our every-day life, certified by the signature of Nittis. Clear and brilliant, too, and full of movement and gayety, are the compositions of MM. Michetti, Mancini and Delleani (A Fete on the Grand Canal, The Return from the Fete of the Madonna, etc.); but the most remarkable of these little Italian masters is Pasini, the Orientalist. His Suburbs of Constantinople and his Promenade in the Garden of the Harem are pictures on which the eye may feast, so finely drawn are their diminutive figures, so wonderful is their variety of intense color—yellow, blue, green, rose—and so clear and transparent withal, startling and amusing us like a display of fireworks.

In the English section are plenty of old acquaintances: we have seen them at Philadelphia, in London and I know not where besides. Frith's Railway Station and Derby Day we all remember, so badly realistic and modern, and the Casual Ward of Fildes—pictures that have gained in England the popularity and success due to veritable works of art, and in Paris the sort of praise we should give to a large colored photograph—if it were well done. This English school is hardly to our taste: Leslie, Leighton, Millais, Orchardson, the painters most in vogue in their own country, have not succeeded in overcoming the cold indifference of the public, who pass through the galleries without caring even to stop. Whence comes the strange disregard for art in a country which lavishes such vast sums for the encouragement of artists? Here are canvases which have been covered with gold, but Parisian criticism treats them as contemptuously as if they were mere chromo-lithographs. The English school is severely condemned for its inharmonious colors, which are either too violent or too cold; for its drawing, which is without what we call distinction; and for that unaccountable light which seems to shine through their figures from within, giving many of the heads the appearance of lanterns. Naturally, Professor Ruskin comes in for his share of this harsh criticism—which, I beg my readers to observe, is not ventured as my own, but is only the echo of the opinion of competent authorities, members of the Institute of France—and the veteran apostle of Pre-Raphaelism is accused of an affected simplicity, and, at the same time, of an offensive and coarse realism, of a mongrel combination of the styles of Courbet and of the old missals, of a want of perspective, and, in short, of all the faults which mark the contemporary English school.

It was only at the last moment that Germany decided to exhibit, and it would be hardly fair to judge of the art of that country by the small number of examples on the walls. There are some paintings by M. Knauss and his followers, however, in whom, if we may accept the opinion of certain connoisseurs, is to be found the true representation of the genius of the land beyond the Rhine. The subjects are invariably peasants or children, rendered according to the monotonous processes of this school, the shape clearly projected upon a dull and sombre ground, the attitudes correct and the gestures faultless, but there is an absence of everything brilliant or striking. No one of the attributes which go to make up a good picture is allowed to assert itself above another: there is an equalization of many talents, sure of themselves, and as incapable of weakness or failure as of telling strokes of genius. One cannot fail to look with curiosity at the Furnace of M. Menzel, a picture of much celebrity in Germany, representing an immense foundry with its massive framework of iron, its machinery and furnaces, the powerful glare of light from a melted casting vividly illuminating the faces and figures of the workmen. Worthy of mention too are the portraits of men by the Bavarian Lembach, and Richter's fine portrait of the beautiful princess Karolath-Beuthen in a ball-dress of white satin, seated by the chimney with an enormous house-dog at her feet. Nor must we omit the Baptism after the Death of the Father by M. Hoff, the chief of the Realistic school, and the landscapes of the two Achembachs and of Breudel and Munthe.

One of the greatest successes of the Exposition has been achieved by Spain. M. Pradilla's remarkable composition representing a passage from the national history—the mad queen Joanna watching by the corpse of her husband, Philip the Handsome—has received a medal of honor. This important painting, which was exhibited at Philadelphia, has attracted so much attention at Madrid during the past two years that the Chambers voted a sum for its acquisition by the state. MM. F. and R. de Madrazzo, father and son, who are well known in America, are also represented, the former (who is director of the Museum of Madrid) by some admirable portraits, one of which is especially noticeable. In a large arm-chair covered in red reclines a very young girl, whose dress, of a light rose-color, is nearly of the same tint as her own delicate complexion, while the red carpet at her feet, the carnations and red geraniums upon the table, all thrown out boldly upon a background of intense blue, produce a strange but wonderfully harmonious effect of color. M. Madrazzo's eldest daughter was the wife of the young and lamented Fortuny, and her bright and lovely face reappears in many, if not in most, of the compositions of her gifted husband.

Fortuny, who sold his first picture to a costermonger in Madrid for a bag of peas, is represented at the Champ de Mars by several canvases, the smallest of which would bring forty thousand francs. His best works are in France. The Wedding at the Vicarage, his chef-d'oeuvre, belongs to Madame de Cassin; M. Andre owns his Serpent-Charmer; and the well-known Choice of a Model and The Judgment-Hall at Granada are in the possession of M. Stewart, the painter's intimate friend, whose collection of Fortuny's works is worth, at the current prices of the day, not less than six hundred thousand francs. Fortuny's painting is indescribable. It has the sparkle of diamonds and rubies and emeralds in the brilliant light of a ball-room. His figures are small, and as minutely elaborated and as highly finished as those of Meissonier himself, whose cherished pupil he was; and I could not but smile, while examining them, at the notion of an enthusiastic young Philadelphian, an almost idolatrous worshipper of Fortuny, that he could imitate this incomparable work by a rapid and free sort of sketching, and all on the faith of two pictures of the master which he had had the happiness to see at an exhibition in Broad street. The immense influence of Fortuny upon the younger contemporary painters of Spain is very apparent in the Exposition. MM. Rico, Simonetti, Domingo, Melida, Casanova vie with each other in their imitation of his manner, but, excellent artists as they are, they are doing so at the expense of originality. The qualities of Fortuny belonged to the nature and temperament of this extraordinary artist, and are not to be acquired by any amount of labor or by any effort of will.

My favorite corner at the Champ de Mars is here before the sparkling little canvases of the Spanish master. But this prodigality of color will sometimes dazzle and fatigue the eye, and turning from it one sees, framed by the heavy red curtains which enclose the Spanish gallery, the immense canvas of the Austrian Hans Makart. This is the Entry of Charles V. into Antwerp. The emperor is surrounded by nearly nude women, who in the midst of horsemen and men-at-arms are offering him flowers and wreaths. These figures, with those of ladies upon balconies gay with flags, and the vast architecture, fill this enormous canvas, which is much larger than even the Catharine Cornaro with which the Philadelphia Exhibition made Americans familiar. The nudity of the women mingled with clothed personages in the streets of a city of the sixteenth century has naturally called forth much adverse criticism, and people have fancied that they saw in it an unworthy attempt to achieve a popular success by means of the scandal; but M. Makart replies that he has respected the truth of history if we are not to disbelieve a contemporary letter of Albert Duerer to Melanchthon. Be this as it may, this great effort receives the applause of the public, notwithstanding the monotonous amber tint which pervades this picture as it did the Catharine Cornaro. Another Austrian, the historical painter Matejko, has received a medal of honor for pictures full of energy, truth and character, though marred by that unaccountable scattering of the light which is a peculiar eccentricity of Austrian painters.

L. LEJEUNE.



DESERTED.

"What a glorious, all-satisfying country this Nevada desert would be if one were only all eyes, and had no need of food, drink and shelter! Wouldn't it, Miss Dwyer? Do you know, I've no doubt that this is the true location of heaven. You see, the lack of water and vegetation would be no inconvenience to spirits, while the magnificent scenery and the cloudless sky would be just the thing to make them thrive."

"But what I can't get over," responded the young lady addressed, "is that these alkali plains, which have been described as so dreary and uninteresting, should prove to be in reality one of the most wonderfully impressive and beautiful regions in the world. What awful fibbers or what awfully dull people they must have been whose descriptions have so misled the public! It is perfectly unaccountable. Here, I expected to doze all the way across the desert, while, in fact, I've grudged my eyes time enough to wink ever since I left my berth this morning."

"The trouble is," replied her companion, "that persons in search of the picturesque, or with much eye for it, are rare travellers along this route. The people responsible for the descriptions you complain of are thrifty business-men, with no idea that there can be any possible attraction in a country where crops can't be raised, timber cut or ore dug up. For my part, I thank the Lord for the beautiful barrenness that has consecrated this great region to loneliness. Here there will always be a chance to get out of sight and sound of the swarming millions who have already left scarcely standing-room for a man in the East. I wouldn't give much for a country where there are no wildernesses left."

"But I really think it is rather hard to say in just what the beauty of the desert consists," said Miss Dwyer. "It is so simple. I scribbled two pages of description in my note-book this morning, but when I read them over, and then looked out of the window, I tore them up. I think the wonderfully fine, clear, brilliant air transfigures the landscape and makes it something that must be seen and can't be told. After seeing how this air makes the ugly sagebrush and the patches of alkali and brown earth a feast to the eye, one can understand how the light of heaven may make the ugliest faces beautiful."

The pretty talker is sitting next the window of palace-car No. 30 of the Central Pacific line, which has already been her flying home for two days. The gentleman who sits beside her professes to be sharing the view, but it is only fair I should tell the reader that under this pretence he is nefariously delighting in the rounded contour of his companion's half-averted face as she, in unfeigned engrossment, scans the panorama unrolled before them by the swift motion of the car. How sweet and fresh is the bright tint of her cheek against the ghastly white background of the alkali-patches as they flit by! Still, it can't be said that he isn't enjoying the scenery too, for surely there is no such Claude-Lorraine glass to reflect and enhance the beauty of a landscape as the face of a spirituel girl.

With a profound sigh, summing up both her admiration and that despair of attaining the perfect insight and sympathy imagined and longed for which is always a part of intense appreciation of natural beauty, Miss Dwyer threw herself back in her seat and fixed her eyes on the car-ceiling with an expression as if she were looking at something at least as far away as the moon.

"I'm going to make a statue when I get home," she said—"a statue which will personify Nevada and represent the tameless, desolate, changeless, magnificent beauty and the self-sufficient loneliness of the desert. I can see it in my mind's eye now. It will probably be the finest statue in the world."

"If you'd as lieve put your ideal into a painting I will give you a suggestion that will be original if nothing else," he observed.

"What's that?"

"Why, having in view these white alkali-patches that chiefly characterize Nevada, paint her as a leper."

"That's horrid! You needn't talk to me any more," she exclaimed emphatically.

With this sort of chatter they had beguiled the time since leaving San Francisco the morning of the day before. Acquaintances are indeed made as rapidly on an overland train as on an ocean steamship, but theirs had dated from the preceding winter, during which they had often met in San Francisco. When Mr. Lombard heard that Miss Dwyer and Mrs. Eustis, her invalid sister, were going East in April, he discovered that he would have business to attend to in New York at about that time; and oddly enough—that is, if you choose to take that view of it—when the ladies came to go it turned out that Lombard had taken his ticket for the selfsame train and identical sleeping-car. The result of which was that he had the privilege of handing Miss Dwyer in and out at the eating-stations, of bringing Mrs. Eustis her cup of tea in the car, and of sharing Miss Dwyer's seat and monopolizing her conversation when he had a mind to, which was most of the time. A bright and congenial companion has this advantage over a book, that he or she is an author whom you can make discourse on any subject you please, instead of being obliged to follow an arbitrary selection by another, as when you commune with the printed page.

By way of peace-offering for his blasphemy in calling the Nevada desert a leper, Lombard had embezzled a couple of chairs from the smoking-room and carried them to the rear platform of the car, which happened to be the last of the train, and invited Miss Dwyer to come thither and see the scenery. Whether she had wanted to pardon him or not, he knew very well that this was a temptation which she could not resist, for the rear platform was the best spot for observation on the entire train, unless it were the cowcatcher of the locomotive.

The April sun mingled with the frosty air like whiskey with ice-water, producing an effect cool but exhilarating. As she sat in the door of the little passage leading to the platform she scarcely needed the shawl which he wrapped about her with absurdly exaggerated solicitude. One of the most unmistakable symptoms of the lover is the absorbing and superfluous care with which he adjusts the wraps about the object of his affections whether the weather be warm or cold: it is as if he thought he could thus artificially warm her heart toward him. But Miss Dwyer did not appear vexed, pretending indeed to be oblivious of everything else in admiration of the spectacle before her.

The country stretched flat and bare as a table for fifty miles on either side the track—a distance looking in the clear air not over one-fifth as great. On every side this great plain was circled by mountains, the reddish-brown sides of some of them bare to the summits, while others were robed in folds of glistening snow and looked like white curtains drawn part way up the sky. The whitey-gray of the alkali-patches, the brown of the dry earth and the rusty green of the sagebrush filled the foreground, melting in the distance into a purple-gray. The wondrous dryness and clearness of the air lent to these modest tints a tone and dazzling brilliance that surprised the eye with a revelation of possibilities never before suspected in them. But the mountains were the greatest wonder. It was as if the skies, taking pity on their nakedness, had draped their majestic shoulders in imperial purple, while at this hour the westering sun tipped their pinnacles with gilt. In the distance half a dozen sand-spouts, swiftly-moving white pillars, looking like desert genii with too much "tanglefoot" aboard, were careering about in every direction.

But as Lombard pointed out the various features of the scene to his companion, I fear that his chief motive was less an admiration of Nature that sought sympathy than a selfish delight in making her eyes flash, seeing the color come and go in her cheeks, and hearing her charming unstudied exclamations of pleasure—a delight not unmingled with complacency in associating himself in her mind with emotions of delight and admiration. It is appalling, the extent to which spoony young people make the admiration of Nature in her grandest forms a mere sauce to their lovemaking. The roar of Niagara has been notoriously utilized as a cover to unlimited osculation, and Adolphus looks up at the sky-cleaving peak of Mont Blanc only to look down at Angelina's countenance with a more vivid appreciation of its superior attractions.

It was delicious, Lombard thought, sitting there with her on the rear platform, out of sight and sound of everybody. He had such a pleasant sense of proprietorship in her! How agreeable—flatteringly so, in fact—she had been all day! There was nothing like travelling together to make people intimate. It was clear that she understood his intentions very well: indeed, how could she help it? He had always said that a fellow had shown himself a bungler at lovemaking if he were not practically assured of the result before he came to the point of the declaration. The sensation of leaving everything else so rapidly behind that people have when sitting on the rear platform of a train of cars makes them feel, by force of contrast, nearer to each other and more identified. How pretty she looked sitting there in the doorway, her eyes bent so pensively on the track behind as the car-wheels so swiftly reeled it off! He had tucked her in comfortably. No cold could get to the sweet little girl, and none ever should so long as he lived to make her comfort his care.

One small gloved hand lay on her lap outside the shawl. What a jolly little hand it was! He reached out his own and took it, but, without even a moment's hesitation for him to extract a flattering inference from, she withdrew it. Perhaps something in his matter-of-course way displeased her.

To know when it is best to submit to a partial rebuff, rather than make a bad matter worse by trying to save one's pride, is a rare wisdom. Still, Lombard might have exercised it at another time. But there are days when the magnetisms are all wrong, and a person not ordinarily deficient in tact, having begun wrong, goes on blundering like a schoolboy. Piqued at the sudden shock to the pleasant day-dream, in which he had fancied himself already virtually assured of this young lady—a day-dream which she was not really accountable for spoiling, since she had not been privy to it—what should he do but find expression for his mingled vexation and wounded affection by reminding her of a previous occasion on which she had allowed him the liberty she now denied? Doubtless helping to account for this lack of tact was the idea that he should thus justify himself for so far presuming just now. Not, of course, that there is really any excuse for a young man's forgetting that ladies have one advantage over Omniscience, in that not only are they privileged to remember what they please, but also to ignore what they see fit to forget.

"You have forgotten that evening at the California Theatre," was what this devoted youth said.

"I'm sure I don't know to what you refer, sir," she replied freezingly.

He was terrified at the distant accent of her voice. It appeared to come from somewhere beyond the fixed stars, and brought the chill of the interstellar spaces with it. He forgot in an instant all about his pique, vexation and wounded pride, and was in a panic of anxiety to bring her back. In a moment more he knew that she would rise from her chair and remark that it was getting cold and she must go in. If he allowed her to depart in that mood he might lose her for ever. He could think of but one way of convincing her instantaneously of his devotion; and so what should he do but take the most inopportune occasion in the entire course of their acquaintance to make his declaration? He was like a general whose plan of battle has been completely deranged by an utterly unexpected repulse in a preliminary movement, compelling him to hurry forward his last reserves in a desperate attempt to restore the battle.

"What have I done, Miss Dwyer? Don't you know that I love you? Won't you be my wife?"

"No, sir," she said flatly, her taste outraged and her sensibilities set on edge by the stupid, blundering, hammer-and-tongs onset which from first to last he had made. She loved him, and had meant to accept him, but if she had loved him ten times as much she couldn't have helped refusing him just then, under those circumstances—not if she died for it. As she spoke she rose and disappeared within the car.

It is certainly to be hoped that the noise of the wheels, which out on the platform was considerable, prevented the recording angel from getting the full force of Lombard's ejaculation.

It is bad enough to be refused when the delicacy and respectfulness of the lady's manner make "No" sound so much like "Yes" that the rejected lover can almost persuade himself that his ears have deceived him. It is bad enough to be refused when she does it so timidly and shrinkingly and deprecatingly that it might be supposed she were the rejected party. It is bad enough to be refused when she expresses the hope that you will always be friends, and shows a disposition to make profuse amends in general agreeableness for the consummate favor which she is forced to decline you. Not to put too fine a point upon it, it is bad enough to be refused anyhow you can arrange the circumstances, but to be refused as Lombard had been, with a petulance as wounding to his dignity as was the refusal itself to his affections, is to take a bitter pill with an asafoetida coating.

In the limp and demoralized condition in which he was left the only clear sentiment in his mind was that he did not want to meet her again just at present. So he sat for an hour or more longer out on the platform, and had become as thoroughly chilled without as he was within when at dusk the train stopped at a little three-house station for supper. Then he went into one of the forward day-cars, not intending to return to the sleeping-car till Miss Dwyer should have retired. When the train reached Ogden the next morning; instead of going on East he would take the same train back to San Francisco, and that would be the end of his romance. His engagement in New York had been a myth, and with Miss Dwyer's "No, sir," the only business with the East that had brought him on this trip was at an end.

About an hour after leaving the supper-station the train suddenly stopped in the midst of the desert. Something about the engine had become disarranged which it would take some time to put right. Glad to improve an opportunity to stretch their legs, many of the passengers left the cars and were strolling about, curiously examining the sagebrush and the alkali, and admiring the ghostly plain as it spread, bare, level and white as an ice-bound polar sea, to the feet of the far-off mountains.

Lombard had also left the car, and was walking about, his hands in his overcoat pockets, trying to clear his mind of the wreckage that obstructed its working; for Miss Dwyer's refusal had come upon him as a sudden squall that carries away the masts and sails of a vessel and transforms it in a moment from a gallant bounding ship to a mere hulk drifting in an entangled mass of debris. Of course she had a perfect right to suit herself about the kind of a man she took for a husband, but he certainly had not thought she was such an utter coquette. If ever a woman gave a man reason to think himself as good as engaged, she had given him that reason, and yet she refused him as coolly as she would have declined a second plate of soup. There must be some truth, after all, in the rant of the poets about the heartlessness and fickleness of women, although he had always been used to consider it the merest bosh. Suddenly he heard the train moving. He was perhaps fifty yards off, and, grumbling anathemas at the stupidity of the conductor, started to run for the last car. He was not quite desperate enough to fancy being left alone on the Nevada desert with night coming on. He would have caught the train without difficulty if his foot had not happened to catch in a tough clump of sage, throwing him violently to the ground. As he gathered himself up the train was a hundred yards off, and moving rapidly. To overtake it was out of the question.

"Stop! ho! stop!" he yelled at the top of his lungs. But there was no one on the rear platform to see him, and the closed windows and the rattle of the wheels were sufficient to render a much louder noise than he could make inaudible to the dozing passengers. And now the engineer pulled out the throttle-valve to make up for lost time, and the clatter of the train faded into a distant roar and its lights began to twinkle into indistinctness.

"Damnation!"

A voice fell like a falling star: "Gentlemen do not use profane language in ladies' company."

He first looked up in the air, as on the whole the likeliest quarter for a voice to come from in this desert, then around. Just on the other side of the track stood Miss Dwyer, smiling with a somewhat constrained attempt at self-possession. Lombard was a good deal taken aback, but in his surprise he did not forget that this was the young lady who had refused him that afternoon.

"I beg your pardon," he replied with a stiff bow: "I did not suppose that there were any ladies within hearing."

"I got out of the car supposing there was plenty of time to get a specimen of sagebrush to carry home," she explained, "but when the cars started, although I was but a little way off, I could not regain the platform;" which, considering that she wore a tie-back of the then prevalent fashion, was not surprising.

"Indeed!" replied Lombard with the same formal manner.

"But won't the train come back for us?" she asked in a more anxious voice.

"That will depend on whether we are missed. Nobody will miss me. Mrs. Eustis, if she hasn't gone to bed, may miss you."

"But she has. She went to bed before I left the car, and is asleep by this time."

"That's unfortunate," was his brief reply as he lit a cigar and began to smoke and contemplate the stars.

His services, so far as he could do anything for her, she should, as a lady, command, but if she thought that he was going to do the agreeable after what had happened a couple of hours ago, she was mightily mistaken.

There was a silence, and then she said, hesitatingly, "What are we going to do?"

He glanced at her. Her attitude and the troubled expression of her face as well as her voice indicated that the logic of the situation was overthrowing the jaunty self-possession which she had at first affected. The desert was staring her out of countenance. How his heart yearned toward her! If she had only given him a right to take care of her, how he would comfort her! what prodigies would he be capable of to succor her! But this rising impulse of tenderness was turned to choking bitterness by the memory of that scornful "No, sir." So he replied, coldly, "I'm not in the habit of being left behind in deserts, and I don't know what is customary to do in such cases. I see nothing except to wait for the next train, which will come along some time within twenty-four hours."

There was another long silence, after which she said in a timid voice, "Hadn't we better walk to the next station?"

At the suggestion of walking he glanced at her close-fitting dress, and a sardonic grin slightly twitched the corners of his mouth as he dryly answered, "It is thirty miles one way and twenty the other to the first station."

Several minutes passed before she spoke again, and then she said, with an accent almost like that of a child in trouble and about to cry, "I'm cold."

The strong, unceasing wind, blowing from snowy mountain-caverns across a plain on which there was not the slightest barrier of hill or tree to check its violence, was indeed bitterly cold, and Lombard himself felt chilled to the marrow of his bones. He took off his overcoat and offered it to her.

"No," said she, "you are as cold as I am."

"You will please take it," he replied in a peremptory manner; and she took it.

"At this rate we shall freeze to death before midnight," he added as if in soliloquy. "I must see if I can't contrive to make some sort of a shelter with this sagebrush."

He began by tearing up a large number of bushes by the roots. Seeing what he was doing, Miss Dwyer was glad to warm her stiffened muscles by taking hold and helping; which she did with a vigor that shortly reduced her gloves to shreds and filled her fingers with scratches from the rough twigs. Lombard next chose an unusually high and thick clump of brush, and cleared a small space three feet across in the centre of it, scattering twigs on the uncovered earth to keep off its chill.

"Now, Miss Dwyer, if you will step inside this spot, I think I can build up the bushes around us so as to make a sort of booth which may save us from freezing."

She silently did as he directed, and he proceeded to pile the brush which they had torn up on the tops of the bushes left standing around the spot where they were, thus making a circular wall about three feet high. Over the top he managed to draw together two or three bushes, and the improvised wigwam was complete.

The moonlight penetrated the loose roof sufficiently to reveal to each other the faces and figures of the two occupants as they sat in opposite corners as far apart as possible, she cold and miserable, he cold and sulky, and both silent. And, as if to mock him, the idea kept recurring to his mind how romantic and delightful, in spite of the cold and discomfort, the situation would be if she had only said Yes, instead of No, that afternoon. People have odd notions sometimes, and it actually seemed to him that his vexation with her for destroying the pleasure of the present occasion was something quite apart and in addition to his main grievance against her. It might have been so jolly, and now she had spoiled it. He could have boxed her pretty little ears.

She wondered why he did not try to light a fire, but she wouldn't ask him another thing if she died. In point of fact, he knew the sagebrush would not burn. Suddenly the wind blew fiercer, there came a rushing sound, and the top and walls of the wigwam were whisked off like a flash, and as they staggered to their feet, buffeted by the whirling bushes, a cloud of fine alkali-dust enveloped them, blinding their eyes, penetrating their ears and noses, and setting them gasping, sneezing and coughing spasmodically. Then, like a puff of smoke, the suffocating storm was dissipated, and when they opened their smarting eyes there was nothing but the silent, glorious desolation of the ghostly desert around them, with the snow-peaks in the distance glittering beneath the moon. A sand-spout had struck them, that was all—one of the whirling dust-columns which they had admired all day from the car-windows.

Wretched enough before both for physical and sentimental reasons, this last experience quite demoralized Miss Dwyer, and she sat down and cried. Now, a few tears, regarded from a practical, middle-aged point of view, would not appear to have greatly complicated the situation, but they threw Lombard into a panic. If she was going to cry, something must be done. Whether anything could be done or not, something must be done.

"Don't leave me," she cried hysterically as he rushed off to reconnoitre the vicinity.

"I'll return presently," he called back.

But five minutes, ten minutes, fifteen minutes passed, and he did not come back. Terror dried her tears, and her heart almost stopped beating. She had quite given him up for lost, and herself too, when with inexpressible relief she heard him call to her. She replied, and in a moment more he was at her side, breathless with running.

"I lost my bearings," he said. "If you had not answered me I could not have found you."

"Don't leave me again," she sobbed, clinging to his arm.

He put his arms round her and kissed her. It was mean, base, contemptible to take advantage of her agitation in that way, but she did not resist, and he did it again and again—I forbear to say how many times.

"Isn't it a perfectly beautiful night?" he exclaimed with a fine gush of enthusiasm.

"Isn't it exquisite?" she echoed with a rush of sympathetic feeling.

"See those stars: they look as if they had just been polished," he cried.

"What a droll idea!" she exclaimed gleefully. "But do see that lovely mountain."

Holding her with a firmer clasp, and speaking with what might be styled a fierce tenderness, he demanded, "What did you mean, miss, by refusing me this afternoon?"

"What did you go at me so stupidly for? I had to refuse," she retorted smilingly.

"Will you be my wife?"

"Yes, sir: I meant to be all the time."

The contract having been properly sealed, Lombard said, with a countenance curiously divided between a tragical expression and a smile of fatuous complacency, "There was a clear case of poetical justice in your being left behind in the desert to-night. To see the lights of the train disappearing, leaving you alone in the midst of desolation, gave you a touch of my feeling on being rejected this afternoon. Of all leavings behind, there's none so miserable as the experience of the rejected lover."

"Poor fellow! so he shouldn't be left behind. He shall be conductor of the train," she said with a bewitching laugh. His response was not verbal.

"How cold the wind is!" she said.

"Shall I build you another wigwam?"

"No: let us exercise a little. You whistle 'The Beautiful Blue Danube,' and we'll waltz. This desert is the biggest, jolliest ball-room floor that ever was, and I dare say we shall be the first to waltz on it since the creation of the world. That will be something to boast of when we get home. Come, let's dedicate the Great American Desert to Terpsichore."

They stepped out from among the ruins of their sagebrush booth upon a patch of hard bare earth close to the railroad track. Lombard puckered his lips and struck up the air, and off they went with as much enthusiasm as if inspired by a first-class orchestra. Round and round, to and fro, they swept until, laughing, flushed and panting, they came to a stop.

It was then that they first perceived that they were not without a circle of appreciative spectators. Sitting like statues on their sniffing, pawing ponies, a dozen Piute Indians encircled them. Engrossed with the dance and with each other, they had not noticed them as they rode up, attracted from their route by this marvellous spectacle of a pale-face squaw and brave engaged in a solitary war-dance in the midst of the desert.

At sight of the grim circle of centaurs around them Miss Dwyer would have fainted but for Lombard's firm hold.

"Pretend not to see them: keep on dancing," he hissed in her ear. He had no distinct plan in what he said, but spoke merely from an instinct of self-preservation, which told him that when they stopped the Indians would be upon them. But as she mechanically, and really more dead than alive, obeyed his direction and resumed the dance, and he in his excitement was treading on her feet at every step, the thought flashed upon him that there was a bare chance of escaping violence if they could keep the Indians interested without appearing to notice their presence. In successive whispers he communicated his idea to Miss Dwyer: "Don't act as if you saw them at all, but do everything as if we were alone. That will puzzle them, and may make them think us supernatural beings, or perhaps crazy: Indians have great respect for crazy people. It's our only chance. We will stop dancing now, and sing a while. Give them a burlesque of opera. I'll give you the cues and show you how. Don't be frightened. I don't believe they'll touch us so long as we act as if we didn't see them. Do you understand? Can you do your part?"

"I understand: I'll try," she whispered.

"Now," he said, and as they separated he threw his hat on the ground, and, assuming an extravagantly languishing attitude, burst forth in a most poignant burlesque of a lovelorn tenor's part, rolling his eyes, clasping his hands, striking his breast, and gyrating about Miss Dwyer in the most approved operatic style. He had a fine voice and knew a good deal of music; so that, barring a certain nervousness in the performer, the exhibition was really not bad. In his singing he had used a meaningless gibberish varied with the syllables of the scale, but he closed by singing the words, "Are you ready now? Go ahead, then."

With that she took it up, and rendered the prima donna quite as effectively, interjecting "The Last Rose of Summer" as an aria in a manner that would have been encored in San Francisco. He responded with a few staccato notes, and the scene ended by their rushing into each other's arms and waltzing down the stage with abandon.

The Indians sat motionless on their horses, not even exchanging comments among themselves. They were evidently too utterly astonished by the goings on before them to have any other sentiment as yet beyond pure amazement. Here were two richly-dressed pale-faces, such as only lived in cities, out in the middle of an uninhabitable desert, in the freezing midnight, having a variety and minstrel show all to themselves, and, to make the exhibition the more unaccountable, without apparently seeing their auditors at all. Had they started up the show after being captured, Indian cunning would have recognized in it a device to save their lives, but the two had been at it before the party rode up—had, in fact, first attracted attention by their gyrations, which were visible for miles out on the moony plain.

Lombard, without ever letting his eyes rest a moment on the Indians so as to indicate that he saw them, had still managed by looks askance and sweeping glances to keep close watch upon their demeanor, and noted with prodigious relief that his wild scheme was succeeding better than he had dared to hope. Without any break in the entertainment he communicated his reassurance to Miss Dwyer by singing, to the tune of "My Country, 'tis of Thee," the following original hymn:

"We're doing admir'blee— They're heap much tickledee: Only keep on."

To which she responded, to the lugubrious air of "John Brown's Body,"

"Oh what do you s'pose they'll go for to do, Oh what do you s'pose they'll go for to do, Oh what do you s'pose they'll go for to do, When we can sing no more?"

A thing may be ridiculous without being amusing, and neither of these two felt the least inclination to smile at each other's poetry. After duly joining in the chorus of "Glory, Hallelujah!" Lombard endeavored to cheer his companion by words adapted to the inspiriting air of "Rally Round the Flag, Boys," This was followed by a series of popular airs, with solos, duets and choruses.

But this sort of thing could not go on for ever. Lombard was becoming exhausted in voice and legs, and as for Miss Dwyer, he was expecting to see her drop from moment to moment. Indeed, to the air of "'Way Down upon the S'wanee River" she now began to sing,

"Oh dear! I can't bear up much longer: I'm tired to death; My voice's gone all to pie-ee-ee-ces, My throat is very sore."

They must inevitably give out in a few minutes, and then he—and, terribly worse, she—would be at the mercy of these bestial savages, and this seeming farce would turn into most revolting tragedy. With this sickening conviction coming over him, Lombard cast a despairing look around the horizon to see if there were no help in their bitter extremity. Suddenly he burst forth, to the tune of "The Star-Spangled Banner:"

"Oh, say can you see, Far away to the east, A bright star that doth grow Momentarily brighter? 'Tis the far-flashing headlight Of a railroad-train: Ten minutes from now We shall be safe and sound."

What they did in those ten minutes neither could tell afterward. The same idea was in both their minds—that unless the attention of the Indians could be held until the train arrived, its approach would only precipitate their own fate by impelling the savages to carry out whatever designs of murder, insult or capture they might have. Under the influence of the intense excitement of this critical interval it is to be feared that the performance degenerated from a high-toned concert and variety show into something very like a Howling-Dervish exhibition. But, at any rate, it answered its purpose until, after a period that seemed like a dozen eternities, the West-bound overland express with a tremendous roar and rattle drew up beside them, in response to the waving of Miss Dwyer's handkerchief and to Lombard's shouts.

Even had the Indians contemplated hostile intentions—which they were doubtless in a condition of too great general stupefaction to do—the alacrity with which the two performers clambered aboard the cars would probably have foiled their designs. But as the train gathered headway once more Lombard could not resist the temptation of venting his feelings by shaking his fist ferociously at the audience which he had been so conscientiously trying to please up to that moment. It was a gratification which had like to have cost him dear. There was a quick motion on the part of one of the Indians, and the conductor dragged Lombard within the car just as an arrow struck the door.

Mrs. Eustis had slept sweetly all night, and was awakened the next morning an hour before the train reached Ogden by the sleeping-car porter, who gave her a telegram which had overtaken the train at the last station. It read:

"Am safe and sound. Was left behind by your train last night, and picked up by West-bound express. Will join you at Ogden to-morrow morning."

"JENNIE DWYER."



Mrs. Eustis read the telegram through twice without getting the least idea from it. Then she leaned over and looked down into Jennie's berth. It had not been slept in. Then she began to understand. Heroically resisting a tendency to scream, she thus secured space for second thought, and, being a shrewd woman of the world, ended by making up her mind to tell no one about the matter. Evidently, Jennie had been having some decidedly unconventional experience, and the less publicity given to all such passages in young ladies' lives the better for their prospects. It so happened that in the bustle attending the approach to the terminus and the prospective change of cars everybody was too busy to notice that any passengers were missing. At Ogden, Mrs. Eustis left the train and went to a hotel. The following morning, a few minutes after the arrival of the Central Pacific train, Jennie Dwyer walked into her room, Lombard having stopped at the office to secure berths for the three to Omaha by the Union Pacific. After Jennie had given an outline account of her experiences, and Mrs. Eustis's equilibrium had been measurably restored by proper use of the smelling-salts, the latter lady remarked, "And so Mr. Lombard was alone with you there all night? It's very unfortunate that it should have happened so."

"Why, I was thinking it very fortunate," replied Jennie with her most child-like expression. "If Mr. Lombard had not been there, I should either have frozen to death or by this time been celebrating my honeymoon as bride of a Piute chief."

"Nonsense, child! You know what I mean. People will talk: such unpleasant things will be said! I wouldn't have had it happen for anything. And when you were under my charge too! Do hand me my salts."

"If people are going to say unpleasant things because I pass a night alone with Mr. Lombard," remarked Jennie with a mischievous smile, "you must prepare yourself to hear a good deal said, my dear, for I presume this won't be the last time it will happen. We're engaged to be married."

EDWARD BELLAMY.



RAMBLING TALK ABOUT THE NEGRO.

What guides the bee when, turning from the "suck," he wheels in air and strikes his wonderful line for the "gum"? Heaven knows. And by what process does the negro calculate the shortest distance between the point he occupies and the place he would be? That also is a mystery, yet the least observant person familiar with the negro cannot have failed to note his wonderful—we had almost said his preternatural—power to discover, without guide or compass, the shortest possible distance between two given places—to make, as he calls it, a "near cut."

To the right of us lay a berry and wild-fruit tract, on our left was a large village, and our farm was in a certain portion skirted by an old field, through which the negroes had discovered the most direct path to market. At dawn they could be seen winding around the brow of the hill, men, women and children, with baskets on their heads and buckets on their arms, singly and in couples, sometimes three, four or a half dozen together. And how they stole from us! It seemed impossible to prevent, or even limit, their depredations.

One evening Mr. Smith said to me, "The man Tony is sentenced to be hung."

Tony was a village negro accused of murder, and as he had been confined in the village jail and tried at the village court-house, the case naturally created some excitement in our quiet neighborhood.

"Oh, I am so sorry!" I exclaimed.

"Yes, poor devil!" said Mr. Smith. "But it was a clear case. He belonged to Mr. Lamkin before the surrender, and the old man made every effort to get him off—employed the very best counsel. I am sorry for him, but the wind which is so ill for him will blow us good. He is to be hung in the old field that edges our farm, and after the execution takes place we shall have no more negro trespassers in that quarter. I very much doubt whether I shall be able to obtain hands to work that portion of the land."

It would require a psychological study of the negro character to enable one to explain the spirit in which they flocked to the execution of their comrade, their friend, in some instances their kinsman. They came in holiday attire and with hurrying steps, and long before the hour appointed the adjoining fence was crowded with eager spectators, and, like flocks of blackbirds, they had filled every tree within five hundred yards, chatting and bustling and moving around with no apparent emotion except the desire to see.

At length the cart appeared on the brow of the hill, and every neck was craned for a glimpse of the poor creature who sat on the coffin—a pitiful-looking, half-dwarf mulatto, who gave you the idea of deformity and distress without your being able to tell why. He walked bravely to his place on the scaffold, singing and praying, protesting his innocence and bequeathing forgiveness to his enemies, apparently full of faith, like many others who by reason of weariness and despair have attained resignation; but the fictitious piety born of nervous excitement, and the abnormal elevation of feeling induced by continued spiritual exhortation during weeks of unrest and suspense, both gave way when his old mother, unsightly and pitiful as himself, asked leave to bid him good-bye, and came tottering to his side, saying as well as she could for the tears that choked her, "Oh, Tony! mammy ain't gwine back on you! Mammy don't b'lieve you done it, she don't keer who 'kuses you. Good-bye, my baby! good-bye! 'Twon't be long 'fo' mammy jines you an' daddy whar dar ain't no onjestice an' no mizry. Mammy ain't gwine to stay here long arter you goes."

He threw up his arms with a wild, sobbing cry: "Oh, mammy! mammy! can't you do nothin' fer me? Ain't you got no way to he'p me? Oh, de sun do shine so pretty, an' de leaves shakes 'bout on de trees so natchul! An' I nuvver knowed de birds to sing like dey does to-day. It ain't fa'r—no, it's not fa'r to shet me up in de groun' for what I ain't done. So many 'ginst one, an' me so little an' so po'! I ain't got a fren' on top o' de yuth. Nary one outen all dese folks, what I use ter go to shuckin's wid 'em, an' play de banjer, an' hunt possums—nary one uv 'em didn't stand up for me an' try to git me off! Not eben you, mammy, didn't try to git in jail an' gimme somethin' to wu'k my way out, an' I a-lis'nin' night an' day! Night an' day, an' you nuvver come!"

"Lord! Lord! my baby!" sobbed the poor old thing, her trembling limbs hardly able to sustain the feeble frame. "What could yo' ole mammy do 'ginst all dem folks? Ef Mars' Henry couldn't make 'em let you 'lone, what could a po' ole nigger do what ain't got no money, an' no sense, an' no fren's? Lord! Lord! my blessed chile!" she sobbed, the tears raining down her withered black cheeks, "ef mammy had a hundred nakes she would put dat rope 'roun' 'em all to keep it off o' your'n."

That was true, poor soul! but could avail nothing, and the appointed sentence was carried into execution. The soul of the boy returned to its Creator and its Judge, and the old mother was taken to her cabin almost as lifeless as the body that swung in the air half a mile away.