their lamps the home-folk "would be happy to use on their salads." Here, around the cheering glow of great wood-fires, the American author would gather his friends, old and new. From Otsego days a blazing hearth-stone ever rejoiced his cheery nature, and his way of laying the wood and nursing the flames horrified his Italian servants as waste of fuel. The chill of the tra montana brought into this circle of warmth and light many eminent foreigners; and of home-country folk, that true American, Horatio Greenough, often basked in the bright glow of the author's wood-fires at Florence.
Later Greenough wrote: "Fenimore Cooper saved me from despair after my return to Italy. He employed me as I wish to be employed; and up to this moment has been a father to me." Greenough's last work was a bust of his illustrious friend, the American novelist, which he proposed to cast in bronze, at his own expense, and place in the field where stands the Old Mill in Newport, and where the opening scene of "The Red Rover" is laid. He took counsel with Cooper's friends as to a monument to the author, and among his papers was found an elaborate design for the work.
Cooper loved to encourage rising talent in young artists. He gave them orders, and also his cheering sympathy. One of these wrote that Cooper gave him a free letter-of-credit on his banker in Paris, and added: "I had occasion to use it more than once, and my drafts were always cheerfully accepted. Since then I have paid him, though he never would have asked for the money; nobody but he and I ever knew of the transaction." A Boston man writes of his visit to the Florence studio of Greenough: "My
eye fell upon a bust which awakened sea and forest pictures,—the spars of an elegant craft, the lofty figure of a hunter, the dignified bearing of a mysterious pilot." It was the bust of Fenimore Cooper. Of the sculptor it was noted that "he always referred with emotion to the gleam of sunshine which encouraged him at this crisis, in the friendship of our late renowned novelist, Cooper."
In the Pitti one day they passed before Raphael's Madonna del Trono, and the sculptor pointed out to his companion the fine drawing in the two little angel figures of the foreground, in the act of singing. Cooper asked if the subject would not lend itself to sculpture;