He used the poker freely, and more and more his flow of hopes turned a shade of sentiment to Sarah Jane, who smiled broader and broader, showing teeth of healthy whiteness.

At last I withdrew and sought my room, which was H. G.’s also, and his studio. I had gone with a candle round the walls whereon were tacked studies and sketches, finding here and there a bit of real merit among the profusion of trash, when the door burst open and my friend entered, kicked off his boots and trousers, and walked up and down at a sort of quadrille step, singing:

“‘Yes, it’s the cottage of me love;
You bet, it’s the cottage of me love,’

“and, what’s more, H. G. has just had his genteel good-night kiss; and when and where is the good old bar-keep?”

I checked his exuberance as best I might, knowing full well that the quiet and elegant dispenser of neat and mixed beverages hearing this inquiry would put in an appearance in person and offer a few remarks designed to provoke ill-feeling. So I at last got Smith in bed and the lamp out. All was quiet for a few moments, and when I had almost gotten asleep I heard my room-mate in low tones say to himself,—

“Married, by the Rev. Gospel, our talented California artist, Mr. H. G. Smith, to Miss Sarah Jane Copples. No cards.”

A pause, and then with more gentle utterance, “and that’s what’s the matter with H. G.”

Slowly from this atmosphere of art I passed away into the tranquil land of dreams.

XI
SHASTA
1870

We escaped the harvesting season of 1870. I try to believe all its poetry is not forever immolated under the strong wheels of that pastoral Juggernaut of our day, the steam-reaper, and to be grateful that Ruths have not now to glean the fallen wheat-heads, and loaf around at questionable hours, setting their caps for susceptible ranchers. Whatever stirring rhythm may to-day measure time with the quick fire-breath of reaping-machines shall await a more poetic pen than this. Some modern Virgil coming along the boundless wheat plain may perhaps sing you bucolic phrases of the new iron age; but he will soon see his mistake, as will you. The harvest home, with its Longfellow mellowness of atmosphere, or even those ideally colored barns of Eastman Johnson’s, with corn and girls and some of the lingering personal relationship between crops and human hands; all that is tradition here, not even memory.