“But my father has complained to you,” said Mademoiselle Noémie.
“He says you are a coquette.”
“He shouldn’t go about saying such things to gentlemen! But you don’t believe it?”
“No,” said Newman gravely, “I don’t believe it.”
She looked at him again, gave a shrug and a smile, and then pointed to a small Italian picture, a Marriage of St. Catherine. “How should you like that?” she asked.
“It doesn’t please me,” said Newman. “The young lady in the yellow dress is not pretty.”
“Ah, you are a great connoisseur,” murmured Mademoiselle Noémie.
“In pictures? Oh, no; I know very little about them.”
“In pretty women, then.”
“In that I am hardly better.”
“What do you say to that, then?” the young girl asked, indicating a superb Italian portrait of a lady. “I will do it for you on a smaller scale.”
“On a smaller scale? Why not as large as the original?”
Mademoiselle Noémie glanced at the glowing splendor of the Venetian masterpiece and gave a little toss of her head. “I don’t like that woman. She looks stupid.”
“I do like her,” said Newman. “Decidedly, I must have her, as large as life. And just as stupid as she is there.”
The young girl fixed her eyes on him again, and with her mocking smile, “It certainly ought to be easy for me to make her look stupid!” she said.
“What do you mean?” asked Newman, puzzled.
She gave another little shrug. “Seriously, then, you want that portrait—the golden hair, the purple satin, the pearl necklace, the two magnificent arms?”
“Everything—just as it is.”
“Would nothing else do, instead?”
“Oh, I want some other things, but I want that too.”
Mademoiselle Noémie turned away a moment, walked to the other side of the hall, and stood there, looking vaguely about her. At last she came back. “It must be charming to be able to order pictures at such a rate. Venetian portraits, as large as life! You go at it en prince. And you are going to travel about Europe that way?”
“Yes, I intend to travel,” said Newman.
“Ordering, buying, spending money?”
“Of course I shall spend some money.”
“You are very happy to have it. And you are perfectly free?”
“How do you mean, free?”
“You have nothing to bother you—no family, no wife, no fiancée?”
“Yes, I am tolerably free.”
“You are very happy,” said Mademoiselle Noémie, gravely.
“Je le veux bien!” said Newman, proving that he had learned more French than he admitted.
“And how long shall you stay in Paris?” the young girl went on.
“Only a few days more.”
“Why do you go away?”
“It is getting hot, and I must go to Switzerland.”
“To Switzerland? That’s a fine country. I would give my new parasol to see it! Lakes and mountains, romantic valleys and icy peaks! Oh, I congratulate you. Meanwhile, I shall sit here through all the hot summer, daubing at your pictures.”
“Oh, take your time about it,” said Newman. “Do them at your convenience.”
They walked farther and looked at a dozen other things. Newman pointed out what pleased him, and Mademoiselle Noémie generally criticised it, and proposed something else. Then suddenly she diverged and began to talk about some personal matter.
“What made you speak to me the other day in the Salon Carré?” she abruptly asked.
“I admired your picture.”
“But you hesitated a long time.”
“Oh, I do nothing rashly,” said Newman.
“Yes, I saw you watching me. But I never supposed you were going to speak to me. I never dreamed I should be walking about here with you to-day. It’s very curious.”
“It is very natural,” observed Newman.
“Oh, I beg your pardon; not to me. Coquette as you think me, I have never walked about in public with a gentleman before. What was my father thinking of, when he consented to our interview?”
“He was repenting of his unjust accusations,” replied Newman.
Mademoiselle Noémie remained silent; at last she dropped into a seat. “Well then, for those five it is fixed,” she said. “Five copies as brilliant and beautiful as I can make them. We have one more to choose. Shouldn’t you like one of those great Rubenses—the marriage of Marie de Médicis? Just look at it and see how handsome it is.”
“Oh, yes; I should like that,” said Newman. “Finish off with that.”
“Finish off with that—good!” And she laughed. She sat a moment, looking at him, and then she suddenly rose and stood before him, with her hands hanging and clasped in front of her. “I don’t understand you,” she said with a smile. “I don’t understand how a man can be so ignorant.”
“Oh, I am ignorant, certainly,” said Newman, putting his hands into his pockets.
“It’s ridiculous! I don’t know how to paint.”
“You don’t know how?”
“I paint like a cat; I can’t draw a straight line. I never sold a picture until you bought that thing the other day.” And as she offered this surprising information she continued to smile.
Newman burst into a laugh. “Why do you tell me this?” he asked.
“Because it irritates me to see a clever man blunder so. My pictures are grotesque.”
“And the one I possess—”
“That one is rather worse than usual.”
“Well,” said Newman, “I like it all the same!”
She looked at him askance. “That is a very pretty thing to say,” she answered; “but it is my duty to warn you before you go farther. This order of yours is impossible, you know. What do you take me for? It is work for ten men. You pick out the six most difficult pictures in the Louvre, and you expect me to go to work as if I were sitting down to hem a dozen pocket handkerchiefs. I wanted to see how far you would go.”
Newman looked at the young girl in some perplexity. In spite of the ridiculous blunder of which he stood convicted, he was very far from being a simpleton, and he had a lively suspicion that Mademoiselle Noémie’s sudden frankness was not essentially more honest than her leaving him in error would have been. She was playing a game; she was not simply taking pity on his æsthetic verdancy. What was it she expected to win? The stakes were high and the risk was great; the prize therefore must have been commensurate. But even granting that the prize might be great, Newman could not resist a movement of admiration for his companion’s intrepidity. She was throwing away with one hand, whatever she might intend to do with the other, a very handsome sum of money.
“Are you joking,” he said, “or are you serious?”
“Oh, serious!” cried Mademoiselle Noémie, but with her extraordinary smile.
“I know very little about pictures or how they are painted. If you can’t do all that, of course you can’t. Do what you can, then.”
“It will be very bad,” said Mademoiselle Noémie.
“Oh,” said Newman, laughing, “if you are determined it shall be bad, of course it will. But why do you go on painting badly?”
“I can do nothing else; I have no real talent.”
“You are deceiving your father, then.”
The young girl hesitated a moment. “He knows very well!”
“No,” Newman declared; “I am sure he believes in you.”
“He is afraid of me. I go on painting badly, as you say, because I want to learn. I like it, at any rate. And I like being here; it is a place to come to, every day; it is better than sitting in a little dark, damp room, on a court, or selling buttons and whalebones over a counter.”
“Of course it is much more amusing,” said Newman. “But for a poor girl isn’t it rather an expensive amusement?”
“Oh, I am very wrong, there is no doubt about that,” said Mademoiselle Noémie. “But rather than earn my living as some girls do—toiling with a needle, in little black holes, out of the world—I would throw myself into the Seine.”
“There is no need of that,” Newman answered; “your father told you my offer?”
“Your offer?”
“He wants you to marry, and I told him I would give you a chance to earn your dot.”
“He told me all about it, and you see the account I make of it! Why should you take such an interest in my marriage?”
“My interest was in your father. I hold to my offer; do what you can, and I will buy what you paint.”
She stood for some time, meditating, with her eyes on the ground. At last, looking up, “What sort of a husband can you get for twelve thousand francs?” she asked.
“Your father tells me he knows some very good young men.”
“Grocers and butchers and little maîtres de cafés! I will not marry at all if I can’t marry well.”
“I would advise you not to be too fastidious,” said Newman. “That’s all the advice I can give you.”
“I am very much vexed at what I have said!” cried the young girl. “It has done me no good. But I couldn’t help it.”
“What good did you expect it to do you?”
“I couldn’t help it, simply.”
Newman looked at her a moment. “Well, your pictures may be bad,” he said, “but you are too clever for me, nevertheless. I don’t understand you. Good-bye!” And he put out his hand.
She made no response, and offered him no farewell. She turned away and seated herself sidewise on a bench, leaning her head on the back of her hand, which clasped the rail in front of the pictures. Newman stood a moment and then turned on his heel and retreated. He had understood her better than he confessed; this singular scene was a practical commentary upon her father’s statement that she was a frank coquette.
CHAPTER V
When Newman related to Mrs. Tristram his fruitless visit to Madame de Cintré, she urged him not to be discouraged, but to carry out his plan of “seeing Europe” during the summer, and return to Paris in the autumn and settle down comfortably for the winter. “Madame de Cintré will keep,” she said; “she is not a woman who will marry from one day to another.” Newman made no distinct affirmation that he would come back to Paris; he even talked about Rome and the Nile, and abstained from professing any especial interest in Madame de Cintré’s continued widowhood. This circumstance was at variance with his habitual frankness, and may perhaps be regarded as characteristic of the incipient stage of that passion which is more particularly known as the mysterious one. The truth is that the expression of a pair of eyes that were at once brilliant and mild had become very familiar to his memory, and he would not easily have resigned himself to the prospect of never looking into them again. He communicated to Mrs. Tristram a number of other facts, of greater or less importance, as you choose; but on this particular point he kept his own counsel. He took a kindly leave of M. Nioche, having assured him that, so far as he was concerned, the blue-cloaked Madonna herself might have been present at his interview with Mademoiselle Noémie; and left the old man nursing his breast-pocket, in an ecstasy which the acutest misfortune might have been defied to dissipate. Newman then started on his travels, with all his usual appearance of slow-strolling leisure, and all his essential directness and intensity of aim. No man seemed less in a hurry, and yet no man achieved more in brief periods. He had certain practical instincts which served him excellently in his trade of tourist. He found his way in foreign cities by divination, his memory was excellent when once his attention had been at all cordially given, and he emerged from dialogues in foreign tongues, of which he had, formally, not understood a word, in full possession of the particular fact he had desired to ascertain. His appetite for facts was capacious, and although many of those which he noted would have seemed woefully dry and colorless to the ordinary sentimental traveler, a careful inspection of the list would have shown that he had a soft spot in his imagination. In the charming city of Brussels—his first stopping-place after leaving Paris—he asked a great many questions about the street-cars, and took extreme satisfaction in the reappearance of this familiar symbol of American civilization; but he was also greatly struck with the beautiful Gothic tower of the Hôtel de Ville, and wondered whether it would not be possible to “get up” something like it in San Francisco. He stood for half an hour in the crowded square before this edifice, in imminent danger from carriage-wheels, listening to a toothless old cicerone mumble in broken English the touching history of Counts Egmont and Horn; and he wrote the names of these gentlemen—for reasons best known to himself—on the back of an old letter.
At the outset, on his leaving Paris, his curiosity had not been intense; passive entertainment, in the Champs Élysées and at the theatres, seemed about as much as he need expect of himself, and although, as he had said to Tristram, he wanted to see the mysterious, satisfying best, he had not the Grand Tour in the least on his conscience, and was not given to cross-questioning the amusement of the hour. He believed that Europe was made for him, and not he for Europe. He had said that he wanted to improve his mind, but he would have felt a certain embarrassment, a certain shame, even—a false shame, possibly—if he had caught himself looking intellectually into the mirror. Neither in this nor in any other respect had Newman a high sense of responsibility; it was his prime conviction that a man’s life should be easy, and that he should be able to resolve privilege into a matter of course. The world, to his sense, was a great bazaar, where one might stroll about and purchase handsome things; but he was no more conscious, individually, of social pressure than he admitted the existence of such a thing as an obligatory purchase. He had not only a dislike, but a sort of moral mistrust, of uncomfortable thoughts, and it was both uncomfortable and slightly contemptible to feel obliged to square one’s self with a standard. One’s standard was the ideal of one’s own good-humored prosperity, the prosperity which enabled one to give as well as take. To expand, without bothering about it—without shiftless timidity on one side, or loquacious eagerness on the other—to the full compass of what he would have called a “pleasant” experience, was Newman’s most definite programme of life. He had always hated to hurry to catch railroad trains, and yet he had always caught them; and just so an undue solicitude for “culture” seemed a sort of silly dawdling at the station, a proceeding properly confined to women, foreigners, and other unpractical persons. All this admitted, Newman enjoyed his journey, when once he had fairly entered the current, as profoundly as the most zealous dilettante. One’s theories, after all, matter little; it is one’s humor that is the great thing. Our friend was intelligent, and he could not help that. He lounged through Belgium and Holland and the Rhineland, through Switzerland and Northern Italy, planning about nothing, but seeing everything. The guides and valets de place found him an excellent subject. He was always approachable, for he was much addicted to standing about in the vestibules and porticos of inns, and he availed himself little of the opportunities for impressive seclusion which are so liberally offered in Europe to gentlemen who travel with long purses. When an excursion, a church, a gallery, a ruin, was proposed to him, the first thing Newman usually did, after surveying his postulant in silence, from head to foot, was to sit down at a little table and order something to drink. The cicerone, during this process, usually retreated to a respectful distance; otherwise I am not sure that Newman would not have bidden him sit down and have a glass also, and tell him as an honest fellow whether his church or his gallery was really worth a man’s trouble. At last he rose and stretched his long legs, beckoned to the man of monuments, looked at his watch, and fixed his eye on his adversary. “What is it?” he asked. “How far?” And whatever the answer was, although he sometimes seemed to hesitate, he never declined. He stepped into an open cab, made his conductor sit beside him to answer questions, bade the driver go fast (he had a particular aversion to slow driving) and rolled, in all probability through a dusty suburb, to the goal of his pilgrimage. If the goal was a disappointment, if the church was meagre, or the ruin a heap of rubbish, Newman never protested or berated his cicerone; he looked with an impartial eye upon great monuments and small, made the guide recite his lesson, listened to it religiously, asked if there was nothing else to be seen in the neighborhood, and drove back again at a rattling pace. It is to be feared that his perception of the difference between good architecture and bad was not acute, and that he might sometimes have been seen gazing with culpable serenity at inferior productions. Ugly churches were a part of his pastime in Europe, as well as beautiful ones, and his tour was altogether a pastime. But there is sometimes nothing like the imagination of these people who have none, and Newman, now and then, in an unguided stroll in a foreign city, before some lonely, sad-towered church, or some angular image of one who had rendered civic service in an unknown past, had felt a singular inward tremor. It was not an excitement or a perplexity; it was a placid, fathomless sense of diversion.
He encountered by chance in Holland a young American, with whom, for a time, he formed a sort of traveler’s partnership. They were men of a very different cast, but each, in his way, was so good a fellow that, for a few weeks at least, it seemed something of a pleasure to share the chances of the road. Newman’s comrade, whose name was Babcock, was a young Unitarian minister, a small, spare, neatly-attired man, with a strikingly candid physiognomy. He was a native of Dorchester, Massachusetts, and had spiritual charge of a small congregation in another suburb of the New England metropolis. His digestion was weak and he lived chiefly on Graham bread and hominy—a regimen to which he was so much attached that his tour seemed to him destined to be blighted when, on landing on the Continent, he found that these delicacies did not flourish under the table d’hôte system. In Paris he had purchased a bag of hominy at an establishment which called itself an American Agency, and at which the New York illustrated papers were also to be procured, and he had carried it about with him, and shown extreme serenity and fortitude in the somewhat delicate position of having his hominy prepared for him and served at anomalous hours, at the hotels he successively visited. Newman had once spent a morning, in the course of business, at Mr. Babcock’s birthplace, and, for reasons too recondite to unfold, his visit there always assumed in his mind a jocular cast. To carry out his joke, which certainly seems poor so long as it is not explained, he used often to address his companion as “Dorchester.” Fellow-travelers very soon grow intimate but it is highly improbable that at home these extremely dissimilar characters would have found any very convenient points of contact. They were, indeed, as different as possible. Newman, who never reflected on such matters, accepted the situation with great equanimity, but Babcock used to meditate over it privately; used often, indeed, to retire to his room early in the evening for the express purpose of considering it conscientiously and impartially. He was not sure that it was a good thing for him to associate with our hero, whose way of taking life was so little his own. Newman was an excellent, generous fellow; Mr. Babcock sometimes said to himself that he was a noble fellow, and, certainly, it was impossible not to like him. But would it not be desirable to try to exert an influence upon him, to try to quicken his moral life and sharpen his sense of duty? He liked everything, he accepted everything, he found amusement in everything; he was not discriminating, he had not a high tone. The young man from Dorchester accused Newman of a fault which he considered very grave, and which he did his best to avoid: what he would have called a want of “moral reaction.” Poor Mr. Babcock was extremely fond of pictures and churches, and carried Mrs. Jameson’s works about in his trunk; he delighted in æsthetic analysis, and received peculiar impressions from everything he saw. But nevertheless in his secret soul he detested Europe, and he felt an irritating need to protest against Newman’s gross intellectual hospitality. Mr. Babcock’s moral malaise, I am afraid, lay deeper than where any definition of mine can reach it. He mistrusted the European temperament, he suffered from the European climate, he hated the European dinner-hour; European life seemed to him unscrupulous and impure. And yet he had an exquisite sense of beauty; and as beauty was often inextricably associated with the above displeasing conditions, as he wished, above all, to be just and dispassionate, and as he was, furthermore, extremely devoted to “culture,” he could not bring himself to decide that Europe was utterly bad. But he thought it was very bad indeed, and his quarrel with Newman was that this unregulated epicure had a sadly insufficient perception of the bad. Babcock himself really knew as little about the bad, in any quarter of the world, as a nursing infant, his most vivid realization of evil had been the discovery that one of his college classmates, who was studying architecture in Paris had a love affair with a young woman who did not expect him to marry her. Babcock had related this incident to Newman, and our hero had applied an epithet of an unflattering sort to the young girl. The next day his companion asked him whether he was very sure he had used exactly the right word to characterize the young architect’s mistress. Newman stared and laughed. “There are a great many words to express that idea,” he said; “you can take your choice!”
“Oh, I mean,” said Babcock, “was she possibly not to be considered in a different light? Don’t you think she really expected him to marry her?”
“I am sure I don’t know,” said Newman. “Very likely she did; I have no doubt she is a grand woman.” And he began to laugh again.
“I didn’t mean that either,” said Babcock, “I was only afraid that I might have seemed yesterday not to remember—not to consider; well, I think I will write to Percival about it.”
And he had written to Percival (who answered him in a really impudent fashion), and he had reflected that it was somehow, raw and reckless in Newman to assume in that off-hand manner that the young woman in Paris might be “grand.” The brevity of Newman’s judgments very often shocked and discomposed him. He had a way of damning people without farther appeal, or of pronouncing them capital company in the face of uncomfortable symptoms, which seemed unworthy of a man whose conscience had been properly cultivated. And yet poor Babcock liked him, and remembered that even if he was sometimes perplexing and painful, this was not a reason for giving him up. Goethe recommended seeing human nature in the most various forms, and Mr. Babcock thought Goethe perfectly splendid. He often tried, in odd half-hours of conversation to infuse into Newman a little of his own spiritual starch, but Newman’s personal texture was too loose to admit of stiffening. His mind could no more hold principles than a sieve can hold water. He admired principles extremely, and thought Babcock a mighty fine little fellow for having so many. He accepted all that his high-strung companion offered him, and put them away in what he supposed to be a very safe place; but poor Babcock never afterwards recognized his gifts among the articles that Newman had in daily use.
They traveled together through Germany and into Switzerland, where for three or four weeks they trudged over passes and lounged upon blue lakes. At last they crossed the Simplon and made their way to Venice. Mr. Babcock had become gloomy and even a trifle irritable; he seemed moody, absent, preoccupied; he got his plans into a tangle, and talked one moment of doing one thing and the next of doing another. Newman led his usual life, made acquaintances, took his ease in the galleries and churches, spent an unconscionable amount of time in strolling in the Piazza San Marco, bought a great many bad pictures, and for a fortnight enjoyed Venice grossly. One evening, coming back to his inn, he found Babcock waiting for him in the little garden beside it. The young man walked up to him, looking very dismal, thrust out his hand, and said with solemnity that he was afraid they must part. Newman expressed his surprise and regret, and asked why a parting had become necessary. “Don’t be afraid I’m tired of you,” he said.
“You are not tired of me?” demanded Babcock, fixing him with his clear gray eye.
“Why the deuce should I be? You are a very plucky fellow. Besides, I don’t grow tired of things.”
“We don’t understand each other,” said the young minister.
“Don’t I understand you?” cried Newman. “Why, I hoped I did. But what if I don’t; where’s the harm?”
“I don’t understand you,” said Babcock. And he sat down and rested his head on his hand, and looked up mournfully at his immeasurable friend.
“Oh Lord, I don’t mind that!” cried Newman, with a laugh.
“But it’s very distressing to me. It keeps me in a state of unrest. It irritates me; I can’t settle anything. I don’t think it’s good for me.”
“You worry too much; that’s what’s the matter with you,” said Newman.
“Of course it must seem so to you. You think I take things too hard, and I think you take things too easily. We can never agree.”
“But we have agreed very well all along.”
“No, I haven’t agreed,” said Babcock, shaking his head. “I am very uncomfortable. I ought to have separated from you a month ago.”
“Oh, horrors! I’ll agree to anything!” cried Newman.
Mr. Babcock buried his head in both hands. At last looking up, “I don’t think you appreciate my position,” he said. “I try to arrive at the truth about everything. And then you go too fast. For me, you are too passionate, too extravagant. I feel as if I ought to go over all this ground we have traversed again, by myself, alone. I am afraid I have made a great many mistakes.”
“Oh, you needn’t give so many reasons,” said Newman. “You are simply tired of my company. You have a good right to be.”
“No, no, I am not tired!” cried the pestered young divine. “It is very wrong to be tired.”
“I give it up!” laughed Newman. “But of course it will never do to go on making mistakes. Go your way, by all means. I shall miss you; but you have seen I make friends very easily. You will be lonely yourself; but drop me a line, when you feel like it, and I will wait for you anywhere.”
“I think I will go back to Milan. I am afraid I didn’t do justice to Luini.”
“Poor Luini!” said Newman.
“I mean that I am afraid I overestimated him. I don’t think that he is a painter of the first rank.”
“Luini?” Newman exclaimed; “why, he’s enchanting—he’s magnificent! There is something in his genius that is like a beautiful woman. It gives one the same feeling.”
Mr. Babcock frowned and winced. And it must be added that this was, for Newman, an unusually metaphysical flight; but in passing through Milan he had taken a great fancy to the painter. “There you are again!” said Mr. Babcock. “Yes, we had better separate.” And on the morrow he retraced his steps and proceeded to tone down his impressions of the great Lombard artist.
A few days afterwards Newman received a note from his late companion which ran as follows:—
My Dear Mr. Newman,—I am afraid that my conduct at Venice, a week ago, seemed to you strange and ungrateful, and I wish to explain my position, which, as I said at the time, I do not think you appreciate. I had long had it on my mind to propose that we should part company, and this step was not really so abrupt as it seemed. In the first place, you know, I am traveling in Europe on funds supplied by my congregation, who kindly offered me a vacation and an opportunity to enrich my mind with the treasures of nature and art in the Old World. I feel, therefore, as if I ought to use my time to the very best advantage. I have a high sense of responsibility. You appear to care only for the pleasure of the hour, and you give yourself up to it with a violence which I confess I am not able to emulate. I feel as if I must arrive at some conclusion and fix my belief on certain points. Art and life seem to me intensely serious things, and in our travels in Europe we should especially remember the immense seriousness of Art. You seem to hold that if a thing amuses you for the moment, that is all you need ask for it, and your relish for mere amusement is also much higher than mine. You put, however, a kind of reckless confidence into your pleasure which at times, I confess, has seemed to me—shall I say it?—almost cynical. Your way at any rate is not my way, and it is unwise that we should attempt any longer to pull together. And yet, let me add that I know there is a great deal to be said for your way; I have felt its attraction, in your society, very strongly. But for this I should have left you long ago. But I was so perplexed. I hope I have not done wrong. I feel as if I had a great deal of lost time to make up. I beg you take all this as I mean it, which, Heaven knows, is not invidiously. I have a great personal esteem for you and hope that some day, when I have recovered my balance, we shall meet again. I hope you will continue to enjoy your travels, only do remember that Life and Art are extremely serious. Believe me your sincere friend and well-wisher,
BENJAMIN BABCOCK
P. S. I am greatly perplexed by Luini.
This letter produced in Newman’s mind a singular mixture of exhilaration and awe. At first, Mr. Babcock’s tender conscience seemed to him a capital farce, and his traveling back to Milan only to get into a deeper muddle appeared, as the reward of his pedantry, exquisitely and ludicrously just. Then Newman reflected that these are mighty mysteries, that possibly he himself was indeed that baleful and barely mentionable thing, a cynic, and that his manner of considering the treasures of art and the privileges of life was probably very base and immoral. Newman had a great contempt for immorality, and that evening, for a good half hour, as he sat watching the star-sheen on the warm Adriatic, he felt rebuked and depressed. He was at a loss how to answer Babcock’s letter. His good nature checked his resenting the young minister’s lofty admonitions, and his tough, inelastic sense of humor forbade his taking them seriously. He wrote no answer at all but a day or two afterward he found in a curiosity shop a grotesque little statuette in ivory, of the sixteenth century, which he sent off to Babcock without a commentary. It represented a gaunt, ascetic-looking monk, in a tattered gown and cowl, kneeling with clasped hands and pulling a portentously long face. It was a wonderfully delicate piece of carving, and in a moment, through one of the rents of his gown, you espied a fat capon hung round the monk’s waist. In Newman’s intention what did the figure symbolize? Did it mean that he was going to try to be as “high-toned” as the monk looked at first, but that he feared he should succeed no better than the friar, on a closer inspection, proved to have done? It is not supposable that he intended a satire upon Babcock’s own asceticism, for this would have been a truly cynical stroke. He made his late companion, at any rate, a very valuable little present.