Lippincott's Magazine of Popular Literature and Science, Volume 15, No. 90, June, 1875

by Various

ART—EXPERIENCE OF AN IGNORAMUS.

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

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

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

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

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

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

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

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

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

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

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

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

SARAH B. WISTER.

BY THE LAKE.

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

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

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

"Rather a solitary belle," laughed his cousin.

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

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

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

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

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

"We are neighbors at Felton, and—"

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

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

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

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

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

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

"She is too serious for that."

"It is a serious affair at times."

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

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

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

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

"Then introduce us."

"She won't speak to me."

"What have you quarreled about?"

"Nothing."

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

"An easy task."

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

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

"I command, I entreat."

"Incorrigible! For your own good I—"

"My peace of mind depends on it."

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

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

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

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

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

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

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

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

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

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

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

"Was she educated abroad?"

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

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

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

"Is she generally liked?"

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

"Willingly," ejaculated the other.

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

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

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

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

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

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

"French blood?" insinuated the doctor.

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

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

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

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

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

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

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

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

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

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

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

"The clavicle is fractured."

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

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

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

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

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

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

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

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

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

"Are you a doctor?" asked the man.

Grey nodded.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Well?"

"She is but a spoilt child, Clare."

"Infatuated," exclaimed the lady.

"Jealous," returned the gentleman.

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

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

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

An emphatic "No" was the answer.

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

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

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

"That would make life plane sailing.

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

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

"Yes."

"And they always come true?"

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

"Can you predict for others?"

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

"When you fall in love—"

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

"How? Tell me about it."

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

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

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

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

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

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

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

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

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

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

"It was an impulse I could not restrain."

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

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

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

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

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

"Doctors think they can treat everything," she said impatiently; then continued in an explanatory tone: "I inherit my foreknowledge from my mother, who was a gypsy celebrated in her tribe for reading the future. You see that the faculty is hereditary with me, and a dose of medicine will not cure it. My poor mother died at my birth: she was very young and beautiful. My father was past forty when he married. I have never spoken of it before, as he dislikes it to be mentioned. But you look like a man who could keep a secret, and I want to prove that I am not as foolish as you think."

Maurice saw it was useless to argue further: the delusion must be firmly established to have caused this young creature to seclude herself from general society for so long a period. The facts of her parentage must have been imprudently confided to her when young, and an imaginative temperament had done the rest. The secresy with which she guarded these ideas served to strengthen them. He could only hope that the life she was now leading would diminish their influence, or perhaps totally destroy her singular belief. Maurice thought it would be easy to wait for time to effect this change, but he had not counted on jealousy.

It was, of all people, that rattlecap George Clifton. George was a man who invariably attached himself where notoriety was to be obtained, and since Miss Lafitte had become the rage he was her shadow. Maurice, soon after this conversation, had discontinued his professional visits. He wished gradually to make it evident to Fay that his attentions had a deeper meaning. Besides, he was scarcely in a state to coolly feel her pulse when he was ready to devour her hand with kisses. The consequence of this change was that he seldom saw her alone: he had less opportunity than ever of winning her affection, and he was tormented by thinking that if she became cured of her eccentric fancy, it would be to marry Clifton.

The doctor was a man of expedients. One evening, when on the shore with Miss Lafitte at a little distance from a party of gay companions, he spied one of those flat-bottomed boats which are a feature of the place, and invited her to enter. Without a word he sent the tiny craft far over the water, out of hearing, almost out of sight, when, resting on his oars, he began: "I am glad to see you have entirely given up your faith in premonitions, Miss Lafitte."

She was sitting, her hands lying idly in her lap, gazing dreamily at the drifting clouds above. Without taking the trouble to change her position, she asked, "How so?"

"You are in love with George Clifton."

"What an amount of penetration you have, Dr. Grey!"

"You are always with him."

"Why should I not be? he is the safest man I know."

"I hope your confidence is not misplaced." Maurice turned, and, shading his face with his hand, looked at the setting sun, although he would have required the eye of an eagle to enjoy its brilliancy. "She acknowledges her preference," thought the young man bitterly, but in the midst of the turmoil her words occasioned he heard her tranquilly saying, "If I were with him a hundred years there would be no danger of my falling in love with him."

Maurice gave a start that caused the water about the boat to dance, but before he could enjoy in full the satisfaction of her last remark, another fear suggested itself. "Perhaps you come with me for the same reason," said he.

"You are my physician."

"I find to my cost that physicians are as capable of loving as other men, but whether their love will be returned is another matter."

Emotion has its peculiar language. Though he strove to be calm, there was a ring in his voice that was unusual, and Fay could not but notice it. "Are you in love, doctor?" she asked gently. "I might help you if I knew with whom it is. Could you tell me?"

Was it worth while to reply to so unconscious, so friendly, a question by the truth? Why ask? What man, having gone so far, would be content to stop? Letting his eyes speak for him, he met her innocent questioning look by a long imploring gaze as he whispered, "You."

As he spoke the expression came over her face that he had noticed when he had first crossed her path with Mrs. Felton: the color forsook her cheeks, the dreamy composure of her attitude vanished, and she murmured in a scared, helpless tone, "Do you want to kill me?"

"No, no: do not think that," he hastily replied. Then seeing the boat had drifted behind a little island that hid them from view, he moved and sat on the floor beside her. "Dear Fay, believe me there is no reality in your foreknowledge. Such a thing is impossible. Love me, Fay, and I will shield you from any evil that may happen. Do not let those sick fancies mislead you: they are gone never to return."

"Take me home, take me home," she sobbed, covering her face with her hands. "Oh why do you talk to me in this way? It is unkind. You know it cannot be. I will not listen to another word. Take me home."

Dr. Grey was too wise to insist. Love had quickened his intuitions. He would have liked to take her in his arms and chase this threatening horror from her mind: he was eager to plead his cause, to assure her of his devotion, but without a word he resumed his seat and obeyed.

The generosity shown in thus preferring her wishes to his own touched Fay more than any pleading could have done. She was convinced of his unselfishness, and her confidence in him remained unshaken. For some time after the scene in the boat she was very shy; but seeing he avoided the forbidden subject, and unconsciously growing each day fonder of his society, she allowed herself to drift into that closer intimacy which can have but one reason for its charm. Maurice saw and rejoiced. If he had won her heart he felt sure of surmounting the imaginary objection to his suit, and he resolved on a bold stroke.

One evening after a long walk they were seated on a huge table-rock jutting from the shore into the water, nothing but the lake before them, the sky above, the forest behind. "Is it not a matter of surprise that you should still be living, Miss Lafitte? he asked, concealing his trepidation under the appearance of raillery.

"Why?"

"Because you have been in love with me for several weeks."

Struck with the truth rather than the audacity of his assertion, she looked down, pondering intently a little space; then, not considering what the admission involved, she said in a choked voice, "You are right."

"And it has not hurt you," he went on eagerly. "I cannot hurt you. Won't you believe me?"

Another longer pause, and the words came trembling forth: "If it could be so!"

"It is so. It has been already proved." He took her hand gently: she permitted it to lie in his, and silence, the language of full hearts, ministered between them.

She broke it finally by the whispered question, "You are quite, quite sure that these warnings are not peculiar—that science can account for them?"

"On my honor, yes."

"I want to believe—I do believe you. I will risk my life for you: I—I—I love you, Maurice."

"My darling!"

She was very quiet, even sad, that evening. Conversation seemed an effort, and after some vain attempts to shake off her depression she hastily retired. After a long search Grey found her walking in one of the alleys of the garden, and could perceive by her tones that she had been weeping.

"In a very few days you will laugh at these pet superstitions. Do not indulge this mood: come and walk," he said persuasively.

"You are cruel."

"Indeed it is for your good."

"Maurice, do you think we are justified in thus tempting Fate?"

He smiled at her as if she were a child: "I have no doubts."

Her eyes shone solemnly as she replied, "Then lead me, even to death."

"To life—to a happy life, dear Fay." He put her unresisting hand on his arm and led her to the door of her room: "Sleep, my darling, and to-morrow you will feel more tranquil."

The next day the young man congratulated himself: Fay was as bright as if evil could never touch her. On passing him at the breakfast-table she whispered, "I defy Fate."

But the struggle was not yet over: the old fear and the new love fought a hard battle. A fortnight of these alternate lights and shadows passed. In his presence the poor girl tried to put on a brave face, but what she endured when alone could be seen in her loss of flesh and color. Sometimes the doctor almost repented having brought this misery upon her, but he comforted himself by looking forward to the calm which must surely follow this storm.

One morning, Miss Lafitte not appearing at her usual time, Maurice became alarmed. Fearing she might be ill, he went to her parlor to inquire: his knock was responded to by Jane, who gave him a note evidently written in expectation of his coming. It ran thus: "Meet me this evening at seven on the rock that you know." Of course he knew the place: it was where she had acknowledged her love.

As may be supposed, the young man was not late at the rendezvous, but he found Fay already there, walking restlessly up and down the contracted space.

"Sit down," she began in the peremptory tone of extreme emotion; then clasping her hands as she stood before him, she said, "I wanted to see you—"

"Not more than I wanted to see you," he interrupted lightly.

Without noticing his remark, she continued hurriedly, "I wish to say that all between us is broken off."

"It is not: I won't submit." He made a motion to rise.

"Do not come near me," she cried with growing agitation. "You have brought me my death. Oh, Maurice!"—here her voice sank pathetically—"why did you make me love you? I shall die—nothing can persuade me to believe otherwise—and it will be soon, soon, soon."

"How very unreasonable, dear Fay! You have long acknowledged your love, yet nothing has happened."

"It is about to happen."

"Come and sit by me," he begged.

"Never again: it must be ended. All day this miserable feeling has oppressed me. I have tried to shake it off, but cannot. It is a warning—it is horrible. Death is near, close, close. I must cease loving you or pay the penalty."

Her wan face presented such a picture of grief, her, voice expressed such an excess of suffering, that Maurice felt his eyes grow dim. Scarcely less moved than herself, he replied, "You cannot cease loving me, dear, dear Fay, nor can I bear to lose you. Let us end this struggle by an immediate marriage. You will then be calm—you will be happy. I will go to your father at once and make the arrangements: he will consent when I explain. There is a clergyman at the house, and a midnight train for New York. Oh, my darling, do not hesitate: this suspense is killing you. Can't you trust me, Fay?"

She listened eagerly: his voice seemed to soothe her. Seeing this, he rose, and, still speaking words of love, approached her. Controlled by, yet fearing, his influence, she slowly retreated as he advanced. Suddenly he cried as if in agony, "Fay, come to me!"

She was standing on the brink of the rock with her back to the danger. A moment she wavered: then Maurice could restrain himself no longer, but, extending his arm, he rushed toward her.

A little step backward, a shy movement to yet delay the consent that was already on her lips, a fall, a splash, and the waters of the lake closed over the body of Fay Lafitte.

To save her or lose himself was the resolution of the doctor as he leapt to the rescue. He was a good swimmer, and soon came to the surface after the plunge, but the shadow of the rock retarded his search. At last he found her, and then a new difficulty, that of landing, presented itself. The shore was covered with a fringe of impenetrable brushwood, which gave him the scantiest support, and it was impossible to mount the face of the rock. Almost in despair, he looked across the water, where he saw in the moonlight a fisherman's boat. Slowly the little craft obeyed his repeated calls for help. Sturdy arms relieved him of his insensible burden, while he, scarcely taking time to climb beside her, hoarsely bade the men row for their lives.

It is needless to describe the scene of confusion which followed on their arrival at the hotel. The only practical man there was Dr. Grey, who gave orders and applied remedies with desperate energy. His persistence was rewarded: the veined lids opened, the white lips parted, intelligence returned: she spoke, and Maurice threw himself on his knees and bent over her that he might catch the words. "My warning was true," she whispered slowly, "but—I—am—willing—to—die—for—loving—you." Then perception faded from those gentle eyes, breathing ceased, the muscles relaxed. Fay was dead.

And the doctor?

He afterward married his cousin: she was so kind to him at the time of his sad affliction.

ITA ANIOL PROKOP.