them, and they are attracted in summer by the sun, they become weak, and the Nile alone, being destitute of rain, is hard pressed by the sun’s attraction in winter. In summer it is equally attracted with all other waters, but in winter it alone is attracted. Thus I consider the sun is the cause of these things” (Herodotus, Euterpe). From that time many able minds have given to the world vain conjectures upon this most interesting subject. The extensive discoveries of modern African explorers have furnished a much clearer idea of the cause of this beneficent overflow than the ingenious theory of Herodotus or the opinions of his wise Grecian friends. During the first few days of the inundation the water has a green tint, which is supposed to be caused by the first rush of the descending torrents, carrying off the stagnant waters from the interior of Darfour. This is thought to be unwholesome, and the natives store up beforehand what water they may need for these few days. A red tint follows this, caused by the surface-washing of red-soiled districts. When the inundation subsides, the water is of a muddy color, pleasant to drink, and quite innocuous. The paintings of the old Egyptians represent these three conditions of the river by waters colored green, red, and blue.
SIX SUNNY MONTHS.
BY THE AUTHOR OF “THE HOUSE OF YORKE,” “GRAPES AND THORNS,” ETC.
CHAPTER IX.
A BRIGHT EVENING.
Everybody knows the great sights of Rome by repute, if not by sight, and it may safely be said that no one cares to hear more of them in the way of description. Indeed, seeing them first, we almost regret having heard so much, and find it difficult to free the real object from the débris of our preconceptions. There is, however, an endless number of less notable objects, little bits here and there—a stair, a street, a door-way, or garden, half rough, or almost altogether rough, but with some beautiful point, like a gem that has had one facet only cut. These, besides their own beauty, have the charm of freshness. The stale, useful guide-book, and the weary tribe of tourists, know them not.
One of these unspoilt places is to be found almost next door to casa Ottant’Otto. It is a chapel attached to an Augustinian convent in which the changed times have left only one frate with his attendant lay brother. The chapel has a rough brick floor, and large piers of stone and mortar supporting, most unnecessarily, the white-washed roof, and the walls at either side are painted with a few large frescos of saints. There are two chapels only, one at each side of the principal altar, adorned with such poor little bravery as the frati and the frequenters of their church—nearly all beggars, or very poor—could afford. The chapel has, however,
one beauty—a Madonna and Child over the high altar. The Mother, of an angelic and flower-like beauty, holds the Infant forward toward the spectator, and the Infant, radiant with a sacred sweetness, extends his right hand, the two fingers open in benediction.