downy chicks were pecking in a cottage made of crystal slats and heavily thatched with spun glass—the prettiest birdcage in the world. On the eaves was an inscription: "The Man of the Two Chickens." It happened that the little keepsake I had found for Francine consisted of wheat-ears in pearls and gold, adapted for brooch and eardrops; so I only had to drop them in beside the chickens and the present was appropriate and complete.
I cannot tell of the effect as Mary Ashburleigh swept into that splendid banqueting-room, one long pyramid of velvet pierced with webbed interstices of light. If the largest window of St. Ursula's church had come down and entered the room, the spectacle could not have been so superb. One item struck me: the younger bride, of course, wore orange buds; but for the Englishwoman, a beauty ripe with many summers, buds and blossoms were inappropriate; she wore fruits: in the grand coronal of plaits that massed itself upon her head were set, like gems, three or four small, delicious, amber-scented mandarin oranges. With this piece of exquisite apropos did the infallible Mary Ashburleigh crown the edifice of her good taste. The two brides sat opposite each other. A small watch, which I had happened to buy at Coblenz, I managed to detach and lay on the Dark Ladye's plate as my offering. On a card beside it I merely wrote, "ANOTHER TIME!"
Who knows? Perhaps Sylvester may fill and founder as the other has done. He looks miserably bilious and frightened.
I had rather partake of a rare dinner than describe one. The wines alone represented all the cellars of the Rhine and the whole champagne country. Fortnoye, who gave the feast, entertained both Sylvester's party and his own with regal good cheer. Think not that Henri Fortnoye was the ordinary obfuscated, superfluous, bewildered bridegroom. On the contrary, assuming immediately the head of his own table, he took the responsibility of the party's merriment, and made the good humor flow like the wine. I know not how it was, but ere the meal was over I found myself joining in one of his choruses; Frau Kranich forgot her asceticism and exhumed all her youthful air of gayety; James Athanasius Grandstone promised the host to set his wines running in every State of America. But the prettiest moment was when the two brides rose and touched glasses, mutually and to the health of the company, apropos of a little wedding-song which Fortnoye had composed and was trolling at the head our willing chorus.
CONCLUSION
I have arrived at Marly, and, with the ssistance of much sarcasm from Hohenfels, am getting on with considerable spirit at my Progressive Geography. When man's Hope ceases temporarily to take a merely Human aspect, may it not suffer a fresh avatar and begin in a new and Geographical form its beneficent career? The Dark Ladye has sunk beneath my horizon, but speculations over the Atlantean and Lunar Mountains are still succulent and vivifying.
I fled, lashed by a hundred despairs and by many symptoms of headache and dyspepsia, from the wedding-feast at Brussels. Charles and the baron of Hohenfels accompanied me. It was a night-train. The spectacle of so much wedded happiness was too much for me, too much for Hohenfels. The effect was, contrarily, rather stimulating to Charles, who has made a match with Josephine, and with her assistance is now listening, the tear of sensibility in his eye, to Mendelssohn's "Wedding March" as executed by the village organ!
We passed Valenciennes, Somain, Donai, Arras, Amiens, Clermont, Criel, Pontoise—the last points of merely bodily travel that I shall ever make: here-after my itineracy shall be entirely theoretical. We took a carriage at Pontoise, and traversed the woods of Saint-Germain. As I neared home I bowed right and left to amicable and smiling neighbors, who waved me good-day from their doors. So did my Newfoundland, who broke his chain and leaped upon my shoulders, flourishing his tail—overjoyed to salute the returning Ulysses.
In the British Museum, among the Elgin Marbles, Phidias has carved a pile of heaped-up marble waves, and out of them rise the arms of Hyperion—the most beautiful arms in the world. Homesick for heaven, those weary arms try to free themselves of the clinging foam. Another minute and surely the triumphant god will leap from his watery couch and guide with unerring hands the coursers of the Dawn! But that reluctant minute is eternal, and the divinity still remains incapable, clogged and wrapped in the embrace of marble waves. Yet the real sun every morning succeeds in equipping himself for his journey, and arrives, glad, at his welcome bath in the western sea.
The inference I draw is: If you want a career to be eternal instead of transitory, hand it over to Art.
The true moral of it all is, that we are all savage myths of the Course of the Sun. We disappear any number of times, but we rise and trail new clouds of glory, and our readers or our audiences perceive that it is the same old Hyperion back again. The youth who by the faithful hound, half buried in the snow, is found far up on the most inaccessible peaks of imagination, is perceived to grasp still in his hand of ice that Germanesque and strange device—Auf Wiedersehen.
FOLLOWING THE TIBER
TWO PAPERS.—1
"Ecce Tiberum!" cried the Roman legions when they first beheld the Scottish Tay. What power of association could have made them see in the clear and shallow stream the likeless of their tawny Tiber, with his full-flowing waters sweeping down to the sea? Perhaps those soldiers under whose mailed and rugged breasts lay so tender a thought of home came from the northerly region among the Apennines, where a little bubbling mountain-brook is the first form in which the storied Tiber greets the light of day. One who has made a pilgrimage from its mouth to its source thus describes the spot: "An old man undertook to be our guide. By the side of the little stream, which here constitutes the first vein of the Tiber, we penetrated the wood. It was an immense beech-forest.... The trees were almost all great gnarled veterans who had borne the snows of many winters: now they stood basking above their blackened shadows in the blazing sunshine. The little stream tumbled from ledge to ledge of splintered rock, sometimes creeping into a hazel thicket, green with long ferns and soft moss, and then leaping once more merrily into the sunlight. Presently it split into numerous little rills. We followed the longest of these. It led us to a carpet of smooth green turf amidst an opening in the trees; and there, bubbling out of the green sod, embroidered with white strawberry-blossoms, the delicate blue of the crane's bill and dwarf willow-herb, a copious little stream arose. Here the old man paused, and resting upon his staff, raised his age-dimmed eyes, and pointing to the gushing water, said, 'E questo si chiama il Tevere a Roma!' ('And this is called the Tiber at Rome!') … We followed the stream from the spot where it issued out of the beech-forest, over barren spurs of the mountains crested with fringes of dark pine, down to a lonely and desolate valley, shut in by dim and misty blue peaks. Then we entered the portals of a solemn wood, with gray trunks of trees everywhere around us and impenetrable foliage above our heads, the deep silence only broken by fitful songs of birds. To this succeeded a blank district of barren shale cleft into great gullies by many a wintry torrent. Presently we found ourselves at an enormous height above the river, on the ledge of a precipice which shot down almost perpendicularly on one side to the bed of the stream.... A little past this place we came upon a very singular and picturesque spot. It was an elevated rock shut within a deep dim gorge, about which the river twisted, almost running round it. Upon this rock were built a few gloomy-looking houses and a quaint, old-world mill. It was reached from the hither side by a widely-spanning one-arched bridge. It was called Val Savignone."1 Beyond this, at a small village called Balsciano, the hills begin to subside into gentler slopes, which gradually merge in the plain at the little town of Pieve San Stefano.
Thus far the infant stream has no history: its legends and chronicles do not begin so early. But a few miles farther, on a tiny branch called the Singerna, are the vestiges of what was once a place of some importance—Caprese, where Michael Angelo was born exactly four hundred years ago. His father was for a twelvemonth governor of this place and Chiusi, five miles off (not Lars Porsenna's Clusium, which is to the south, but Clusium Novum), and brought his wife with him to inhabit the palazzo communale. During his regency the painter of the "Last Judgment," the sculptor of "Night and Morning," the architect of St. Peter's cupola, first saw the light. Here the
