resting-place by strong action on the part of an International Committee of Artists; but Middletown, though startled by its own good fortune, clung with Yankee tenacity to its rights. Raphael Collin, of Paris, commenting on this in the Revue des Deux Mondes, cried out whimsically upon the woes of an art-critic's life, "as if there were not already enough wearisome pilgrimages necessary to remote and uncomfortable places with jaw-breaking names, which must nevertheless be visited for the sake of a single picture!" And a burlesque resolution to carry off the picture by force was adopted at the dinner in London given in honor of Fallères the evening before he set off for America to attend the dedicatory exercises with which Middletown planned to install its new treasure.
For the little rustic college rose to its one great occasion. Bold in their confidence in their dead colleague's fame, the college authorities sent out invitations to all the great ones of the country. Those to whom Gridley was no more than a name on volumes one never read came because the portrait was by Fallères, and those who had no interest in the world of art came to honor the moralist whose noble clear-thinking had simplified the intimate problems of modern life. There was the usual residuum of those who came because the others did, and, also as usual, they were among the most brilliant figures in the procession which filed along, one October morning, under the old maples of Middletown campus.
It was a notable celebration. A bishop opened the exercises with prayer, a United States senator delivered the eulogy of the dead philosopher, the veil uncovering the portrait was drawn away by the mayor of one of
