LITMIR.BIZ

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gave him coffee when he came, and that was a saving; at the proper seasons little presents from them were not wanting. In a word, his condition was not privation. He did his duty as a teacher faithfully, and the only trouble with it was that the young girl was growing into a young woman, and that he could not go on teaching her forever. In an evil hour, as it seemed to Don Ippolito, that made the years she had been his pupil shrivel to a mere pinch of time, there came from a young count of the Friuli, visiting Venice, an offer of marriage; and Don Ippolito lost his place. It was hard, but he bade himself have patience; and he composed an ode for the nuptials of his late pupil, which, together with a brief sketch of her ancestral history, he had elegantly printed, according to the Italian usage, and distributed among the family friends; he also made a sonnet to the bridegroom, and these literary tributes were handsomely acknowledged.

      He managed a whole year upon the proceeds, and kept a cheerful spirit till the last soldo was spent, inventing one thing after another, and giving much time and money to a new principle of steam propulsion, which, as applied without steam to a small boat on the canal before his door, failed to work, though it had no logical excuse for its delinquency. He tried to get other pupils, but he got none, and he began to dream of going to America. He pinned his faith in all sorts of magnificent possibilities to the names of Franklin, Fulton, and Morse; he was so ignorant of our politics and geography as to suppose us at war with the South American Spaniards, but he knew that English was the language of the North, and he applied himself to the study of it. Heaven only knows what kind of inventor's Utopia, our poor, patent-ridden country appeared to him in these dreams of his, and I can but dimly figure it to myself. But he might very naturally desire to come to a land where the spirit of invention is recognized and fostered, and where he could hope to find that comfort of incentive and companionship which our artists find in Italy.

      The idea of the breech-loading cannon had occurred to him suddenly one day, in one of his New-World-ward reveries, and he had made haste to realize it, carefully studying the form and general effect of the Austrian cannon under the gallery of the Ducal Palace, to the high embarrassment of the Croat sentry who paced up and down there, and who did not feel free to order off a priest as he would a civilian. Don Ippolito's model was of admirable finish; he even painted the carriage yellow and black, because that of the original was so, and colored the piece to look like brass; and he lost a day while the paint was drying, after he was otherwise ready to show it to the consul.

      He had parted from Ferris with some gleams of comfort, caught chiefly from his kindly manner, but they had died away before nightfall, and this morning he could not rekindle them.

      He had had his coffee served to him on the bench, as his frequent custom was, but it stood untasted in the little copper pot beside the dismounted cannon, though it was now ten o'clock, and it was full time he had breakfasted, for he had risen early to perform the matin service for three peasant women, two beggars, a cat, and a paralytic nobleman, in the ancient and beautiful church to which he was attached. He had tried to go about his wonted occupations, but he was still sitting idle before his bench, while his servant gossiped from her balcony to the mistress of the next house, across a calle so deep and narrow that it opened like a mountain chasm beneath them. "It were well if the master read his breviary a little more, instead of always maddening himself with those blessed inventions, that eat more soldi than a Christian, and never come to anything. There he sits before his table, as if he were nailed to his chair, and lets his coffee cool—and God knows I was ready to drink it warm two hours ago—and never looks at me if I open the door twenty times to see whether he has finished. Holy patience! You have not even the advantage of fasting to the glory of God in this house, though you keep Lent the year round. It's the Devil's Lent, I say. Eh, Diana! There goes the bell. Who now? Adieu, Lusetta. To meet again, dear. Farewell!"

      She ran to another window, and admitted the visitor. It was Ferris, and she went to announce him to her master by the title he had given, while he amused his leisure in the darkness below by falling over a cistern-top, with a loud clattering of his cane on the copper lid, after which he heard the voice of the priest begging him to remain at his convenience a moment till he could descend and show him the way upstairs. His eyes were not yet used to the obscurity of the narrow entry in which he stood, when he felt a cold hand laid on his, and passively yielded himself to its guidance. He tried to excuse himself for intruding upon Don Ippolito so soon, but the priest in far suppler Italian overwhelmed him with lamentations that he should be so unworthy the honor done him, and ushered his guest into his apartment. He plainly took it for granted that Ferris had come to see his inventions, in compliance with the invitation he had given him the day before, and he made no affectation of delay, though after the excitement of the greetings was past, it was with a quiet dejection that he rose and offered to lead his visitor to his laboratory.

      The whole place was an outgrowth of himself; it was his history as well as his character. It recorded his quaint and childish tastes, his restless endeavors, his partial and halting successes. The ante-room in which he had paused with Ferris was painted to look like a grape-arbor, where the vines sprang from the floor, and flourishing up the trellised walls, with many a wanton tendril and flaunting leaf, displayed their lavish clusters of white and purple all over the ceiling. It touched Ferris, when Don Ippolito confessed that this decoration had been the distraction of his own vacant moments, to find that it was like certain grape-arbors he had seen in remote corners of Venice before the doors of degenerate palaces, or forming the entrances of open-air restaurants, and did not seem at all to have been studied from grape-arbors in the country. He perceived the archaic striving for exact truth, and he successfully praised the mechanical skill and love of reality with which it was done; but he was silenced by a collection of paintings in Don Ippolito's parlor, where he had been made to sit down a moment. Hard they were in line, fixed in expression, and opaque in color, these copies of famous masterpieces,—saints of either sex, ascensions, assumptions, martyrdoms, and what not,—and they were not quite comprehensible till Don Ippolito explained that he had made them from such prints of the subjects as he could get, and had colored them after his own fancy. All this, in a city whose art had been the glory of the world for nigh half a thousand years, struck Ferris as yet more comically pathetic than the frescoed grape-arbor; he stared about him for some sort of escape from the pictures, and his eye fell upon a piano and a melodeon placed end to end in a right angle. Don Ippolito, seeing his look of inquiry, sat down and briefly played the same air with a hand upon each instrument.

      Ferris smiled. "Don Ippolito, you are another Da Vinci, a universal genius."

      "Bagatelles, bagatelles," said the priest pensively; but he rose with greater spirit than he had yet shown, and preceded the consul into the little room that served him for a smithy. It seemed from some peculiarities of shape to have once been an oratory, but it was now begrimed with smoke and dust from the forge which Don Ippolito had set up in it; the embers of a recent fire, the bellows, the pincers, the hammers, and the other implements of the trade, gave it a sinister effect, as if the place of prayer had been invaded by mocking imps, or as if some hapless mortal in contract with the evil powers were here searching, by the help of the adversary, for the forbidden secrets of the metals and of fire. In those days, Ferris was an uncompromising enemy of the theatricalization of Italy, or indeed of anything; but the fancy of the black-robed young priest at work in this place appealed to him all the more potently because of the sort of tragic innocence which seemed to characterize Don Ippolito's expression. He longed intensely to sketch the picture then and there, but he had strength to rebuke the fancy as something that could not make itself intelligible without the help of such accessories as he despised, and he victoriously followed the priest into his larger workshop, where his inventions, complete and incomplete, were stored, and where he had been seated when his visitor arrived. The high windows and the frescoed ceiling were festooned with dusty cobwebs; litter of shavings and whittlings strewed the floor; mechanical implements and contrivances were everywhere, and Don Ippolito's listlessness seemed to return upon him again at the sight of the familiar disorder. Conspicuous among other objects lay the illogically unsuccessful model of the new principle of steam propulsion, untouched since the day when he had lifted it out of the canal and carried it indoors through the ranks of grinning spectators. From a shelf above it he took down models of a flying-machine and a perpetual motion. "Fantastic researches in the impossible. I never expected results from these experiments, with which I nevertheless once pleased

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