of untempered belief.  It tells us the beauty of picturesque untruth; the grotesqueness of unmannerly conviction; truth and error have kissed each other in a sweet, serener sphere; this becomes that, and that is something else.  The harmonious, the suave, the well bred waft the bright particular being into a peculiar and reserved parterre of paradise, where bloom at once the graces of Panthism, the simplicity of Deism, and the pathos of Catholicism; where he can sip elegances and spiritualities from flowerets of every faith!’ Fancy my crass ignorance, when I assure you that I actually laughed over that verbal syllabub, thinking it intended as a famous bit of satire.”

“Then it is pathetically true that reverence for the Renaissance has not crossed the Atlantic?” asked one of the “Albatross” party, who with his sketch book half open, was surreptitiously making an “impressionist” view of Leo’s profile, as she stood listening to Alma’s persiflage, and mechanically arranging her lilac acanthus blossoms.

“Devoted British colporteurs have philanthropically scattered a few art primers and tracts, and there is a possibility that in the near future, our people may search the maps for Orvieto, and the dictionaries for Campo Santo, to compass the mysteries of the ‘Triumph of Death’, and of ‘Symmetria Prisca’.  Some of us have even heard of ‘Aucassin et Nicolette’, and of ‘Nencia da Barberino’, picking salad in her garden; and I am almost sure a Vassar girl once spoke to me of Delia Quercia’s Ilaria; but with all my national pride, candor compels me to admit that it is a ‘far cry’ to the day when we can devoutly fall on our knees before the bronze Devil of Giovanni da Bologna.  Aesthetic paupers, we sit on the lowest bench at the foot of the class, in your Dame’s Art School, to learn the alphabet of the wonderful Renaissance; and in our chastened and reverent mood, it almost takes our breath away when your high-priestess unrolls the last pronunciamento, and tells us her startling story of ‘Euphorion!’ Why?  Ah!—­don’t you know?  The Puritan leaven of prudery, and the stern, stolid, phlegmatic decorum of Knickerbockerdom mingle in that consummate flower of the nineteenth century occident, the ‘American Girl’, who pales and flushes at sight of the carnival of the undraped—­in English art and literature.  Here, Leo, take your anemones; red, are they not, as the blood once chilled down yonder, in that huge stone kennel?  Dr. Douglass has the ivy root; and he and I have concluded, that after all, Syracuse was not more cruel here in the Latomia, than some States in America, where convicts are leased to mining companies, and kept quarrying coal, without even the sweet consolation of staring up at this magical blue sky.  We leave hideous moral and physical leprosy at home, and come here to shed dilettante tears over classic tatters twenty-five centuries old!  O immortal and ubiquitous Tartufe!”

As Leo walked with her cousin toward the spot, where the “Cleopatra” rose and fell on the crest of waves racing before Libeccio, she suddenly laid her hand on his arm.