“However that may be, his premonition was right enough.  The next winter I read one morning that the body of Campbell Corot had been taken from the river at the foot of Cedar Street.  It was known that his habits were intemperate, and it was probable that returning from a saloon he had walked past his door and off the dock.  His cards declared him to be a landscape painter, but he was unknown in the artistic circles of the city.  I wrote to the authorities that he was indeed a landscape painter and that the fact should be recorded on his slab in Potter’s Field.  I was poor and that was the only service I could do to his memory.”

The Painter ceased.  We all rose to go and were parting at the doorway with sundry hems and haws when the Patron piped up anxiously, “Do you suppose he painted my Corot?” “I don’t know and I don’t care,” said the Painter shortly.  “Damn it, man, can’t you see it’s a human not a picture-dealing proposition?” sputtered the Antiquary.  “That’s right,” echoed the Critic, as the three locked arms for the stroll downtown, leaving the bewildered Patron to find his way alone to the Park East.

THE DEL PUENTE GIORGIONE

The train swung down a tawny New England river towards Prestonville as I reviewed the stages of a great curiosity.  At last I was to see the Del Puente Giorgione.  Long before, when the old pictures first began to speak to me, I had learned that the critic Mantovani, the master of us all, owned an early Giorgione, unfinished but of marvellous beauty.  At his death, strangely enough, it was not found among his pictures, which were bequeathed as every one knows to the San Marcello Museum.  The next word I had of it was when Anitchkoff, Mantovani’s disciple and successor, reported it in the Del Puente Castle in the Basque mountains.  He added a word on its importance though avowedly knowing it only from a photograph.  It appeared that Mantovani in his last days had given the portrait to his old friend the Carlist Marquesa del Puente, in whose cause—­picturesque but irrelevant detail—­he had once drawn sword.  Anitchkoff’s full enthusiasm was handsomely recorded after he had made the pilgrimage to the Marquesa’s crag.  One may still read in that worthy but short-lived organ of sublimity, “Le Mihrab,” his appreciation of the Del Puente Giorgione, which he describes as a Giambellino blossoming into a Titian, with just the added exquisiteness that the world has only felt since Big George of Castelfranco took up the brush.  How the panel exchanged the Pyrenees for the North Shore passed dimly through my mind as barely worth recalling.  It was the usual story of the rich and enterprising American collector.  Hanson Brooks had bought it and hung it in “The Curlews,” where it bid fair to become legendary once more, but at last had lent it with his other pictures to the Prestonville Museum of Science and the Fine Arts, the goal of my present quest.  While the picture lay perdu at Brooks’s, there had been disquieting gossip; the Pretorian Club, which is often terribly right in such matters, agreed that he had been badly sold.  None of this I believed for an instant.  What could one doubt in a picture owned by Mantovani and certified by Anitchkoff?  Upon this point of rumination the train stopped at Prestonville.