CHAPTER XV.

AN ESTHETIC COMPANY.

On the evening after Miriam's visit to Kenyon's studio, there was an assemblage composed almost entirely of Anglo-Saxons, and chiefly of American artists, with a sprinkling of their English brethren; and some few of the tourists who still lingered in Rome, now that Holy Week was past. Miriam, Hilda, and the sculptor, were all three present, and, with them, Donatello, whose life was so far turned from its natural bent, that, like a pet spaniel, he followed his beloved mistress wherever he could gain admittance.

The place of meeting was in the palatial, but somewhat faded and gloomy apartment of an eminent member of the æsthetic body. It was no more formal an occasion than one of those weekly receptions, common among the foreign residents of Rome, at which pleasant peopleor disagreeable ones, as the case may be encounter one

another with little ceremony.

If anywise interested in art, a man must be difficult to please who cannot find fit companionship among a crowd of persons, whose ideas and pursuits all tend towards the general purpose of enlarging the world's stock of beautiful productions.

One of the chief causes that make Rome the favorite residence of artists - their ideal home which they sigh for in advance, and are so loth to migrate from, after once breathing its enchanted air-is, doubtless, that they there find themselves in force, and are numerous enough to create a congenial atmosphere. In every other clime they are isolated strangers; in this land of art, they are free citizens.

Not that, individually, or in the mass, there appears to be any large stock of mutual affection among the brethren of the chisel and the pencil. On the contrary, it will impress the shrewd observer that the jealousies and petty animosities, which the poets of our day have flung aside, still irritate and gnaw into the hearts of this kindred class of imaginative men. It is not difficult to suggest reasons why this should be the fact. The public, in whose good graces lie the sculptor's or the painter's prospects of success, is infinitely smaller than the public to which literary men make their appeal. It is composed of a very limited body of wealthy patrons; and these, as the artist well knows, are but blind judges in matters that require the utmost delicacy of perception. Thus, success in art is apt to become partly an affair of intrigue; and it is almost inevitable that even a gifted artist should look askance at his gifted brother's fame, and be chary of the good word that might help him to sell still another statue or picture. You seldom hear a painter heap generous praise on anything in his special line of art; a sculptor never has a favorable eye for any marble but his own.

Nevertheless, in spite of all these professional grudges,

artists are conscious of a social warmth from each other's presence and contiguity. They shiver at the remembrance of their lonely studios in the unsympathizing cities of their native land. For the sake of such brotherhood as they can find, more than for any good that they get from galleries, they linger year after year in Italy, while their originality dies out of them, or is polished away as a barbarism.

The company this evening included several men and women whom the world has heard of, and many others, beyond all question, whom it ought to know. It would be a pleasure to introduce them upon our humble pages, name by name, and had we confidence enough in our own taste -to crown each well-deserving brow according to its deserts. The opportunity is tempting, but not easily manageable, and far too perilous, both in respect to those individuals whom we might bring forward, and the far greater number that must needs be left in the shade. Ink, moreover, is apt to have a corrosive quality, and might chance to raise a blister, instead of any more agreeable titillation, on skins so sensitive as those of artists. We must therefore forego the delight of illuminating this chapter with personal allusions to men whose renown glows richly on canvas, or gleams in the white moonlight of marble.

Otherwise we might point to an artist who has studied nature with such tender love that she takes him to her intimacy, enabling him to reproduce her in landscapes that seem the reality of a better earth, and yet are but the truth of the very scenes around us, observed by the

painter's insight and interpreted for us by his skill. By his magic, the moon throws her light far out of the picture, and the crimson of the summer night absolutely glimmers on the beholder's face. Or we might indicate a poet-painter, whose song has the vividness of picture, and whose canvas is peopled with angels, fairies, and water-sprites, done to the ethereal life, because he saw them face to face in his poetic mood. Or we might bow before an artist, who has wrought too sincerely, too religiously, with too earnest a feeling, and too delicate a touch, for the world at once to recognize how much toil and thought are compressed into the stately brow of Prospero, and Miranda's maiden loveliness; or from what a depth within this painter's heart the Angel is leading forth St. Peter.

Thus it would be easy to go on, perpetrating a score of little epigrammatical allusions, like the above, all kindly meant, but none of them quite hitting the mark, and often striking where they were not aimed. It may be allowable to say, however, that American art is much better represented at Rome in the pictorial than in the sculpturesque department. Yet the men of marble appear to have more weight with the public than the men of canvas; perhaps on account of the greater density and solid substance of the material in which they work, and the sort of physical advantage which their labors thus acquire over the illusive unreality of color. To be a sculptor, seems a distinction in itself; whereas, a painter is nothing, unless individually eminent.

One sculptor there was, an Englishman, endowed with

a beautiful fancy, and possessing at his fingers' ends the capability of doing beautiful things. He was a quiet, simple, elderly personage, with eyes brown and bright, under a slightly impending brow, and a Grecian profile, such as he might have cut with his own chisel. He had spent his life, for forty years, in making Venuses, Cupids, Bacchuses, and a vast deal of other marble progeny of dream-work, or rather frost-work: it was all a vapory exhalation out of the Grecian mythology, crystallizing on the dull window-panes of to-day. Gifted with a more delicate power than any other man alive, he had foregone to be a Christian reality, and perverted himself into a Pagan idealist, whose business or efficacy, in our present world, it would be exceedingly difficult to define. And, loving and reverencing the pure material in which he wrought, as surely this admirable sculptor did, he had nevertheless robbed the marble of its chastity, by giving it an artificial warmth of hue. Thus it became a sin and shame to look at his nude goddesses. They had revealed themselves to his imagination, no doubt, with all their deity about them; but, bedaubed with buff-color, they stood forth to the eyes of the profane in the guise of naked women. But, whatever criticism may be ventured on his style, it was good to meet a man so modest, and yet imbued with such thorough and simple conviction of his own right principles and practice, and so quietly satisfied that his kind of antique achievement was all that sculpture could effect for modern life.

This eminent person's weight and authority among his artistic brethren were very evident; for beginning unob