charm; with all your poetry of soul, you couldn't help! Loudon," he would go on, "you drive me crazy. You expect a man to be all broken up about the sunset, and not to care a dime for a place where fortunes are fought for and made and lost all day; or for a career that consists in studying up life till you have it at your finger-ends, spying out every cranny where you can get your hand in and a dollar out, and standing there in the midst—one foot on bankruptcy, the other on a borrowed dollar, and the whole thing spinning round you like a mill—raking in the stamps, in spite of fate and fortune.”
To this romance of dickering I would reply with the romance (which is also the virtue) of art: reminding him of those examples of constancy through many tribulations, with which the rôle of Apollo is illustrated—from the case of Millet, to those of many of our friends and comrades, who had chosen this agreeable mountain path through life, and were now bravely clambering among rocks and brambles, penniless and hopeful.
"You will never understand it, Pinkerton," I would say. "You look to the result, you want to see some profit of your endeavours: that is why you could never learn to paint, if you lived to be Methusalem. The result is always a fizzle: the eyes of the artist are turned in; he lives for a frame of mind. Look at Romney, now. There is the nature of the artist. He hasn't a cent; and if you offered him to-morrow the command of an army, or the presidentship of the United States, he wouldn't take it, and you know he wouldn't."
"I suppose not," Pinkerton would cry, scouring his hair with both his hands; "and I can't see why; I can't see what in fits he would be after, not to; I don't seem to rise to these views. Of course, it's the fault of not having had advantages in early life; but, Loudon, I'm so miserably low that it seems to me
