Part 3

Certainly, he had got so far as to think he ought to be beginning to work, and he was in despair because he could not find in Rome a youth as beautiful as himself to pose for his Young Sophocles. To listen to him was to believe that Narcissus had come to life again. We would meet him during our afternoon rambles in all sorts of out-of-the-way places, when he would stop and take half an hour to assure us he hadn't time to stop, he was hunting for a model he had just heard of, and then he would drop into the _Nazionale_ at night to report his want of progress, for no model ever came up to his standard. He referred to his own beauty with the frank simplicity and vanity of a child--a real Post-Impressionist; not one by pose, for there was not a trace of pose in him. I wish I could say how astonishing he was to me. Life has since thrown many young artists and writers my way and I am used to their conceits and affectations and splendid belief in themselves. But my experience then was of the most limited and bound by Philadelphia convention, and I cannot imagine a greater contrast than between the Philadelphia youth to whom I was accustomed, talking of the last reception and the next party over his chicken salad at the Dancing Class, and Donoghue talking dispassionately of his own surpassing beauty over a small cup of coffee at the _Nazionale_.

Donoghue was a child, not merely in his vanity, but in everything, with the schoolboy's sense of fun. I never knew him happier than the evening he hurried to the _café_ from his visit to the Coliseum by moonlight to tell us of his joke on the Americans he found waiting there in silence for the guide's announcement that the moon was in the proper place for their proper emotion. A friend was with him.

"And I said: '_Sprichst du Deutsch?_' very loud as we passed," was Donoghue's story. "And he answered as loud as he could: '_Nichts! Nichts!_' And I said: '_Zwei Bier_,' and of course the Americans took us for Germans. Then we hid in the shadows a little further on and we both yelled together at the top of our voices, 'Three cheers for Cleveland!' and the Americans jumped, and they forgot the moon, and they wouldn't listen to the guide, and I tell you it was just great."

I was not overcome myself with the wit or humour of the jest, but Donoghue was, and he roared with laughter until none of us could help roaring with him in sheer sympathy. He was as enchanted with his method of learning Italian. He was reading Wilkie Collins and Bret Harte in an Italian translation, and when he yawned in our faces and left the _café_ early, it was because the night before the Dago's _Woman in White_ or _Luck of Roaring Camp_ had kept him up until long after dawn, though really he knew it was a waste of time since anybody had only to get himself half seas over and he'd talk any darned lingo in the world.

He joined us less often after he gave up the hopeless hunt for the model who never was found and whom it would have been useless anyway to find, for Donoghue always spent his quarter's allowance the day he got it, and most models could not wait three months to be paid. To this conclusion he came soon after the first of the year and settled down seriously to posing for himself and, as the world knows, the Young Sophocles was finished in the course of time and a very fine statue it is said to be. But even if he did desert our table he would still seem to me in memory the centre of the little group gathered about it, had it not been for Forepaugh.

Of course his name was not Forepaugh--though something very like it--but Forepaugh answers my every purpose. For though I did know his name I did not know then, and I do not know now, who he was and why he was. I do not think anybody ever knew anything about him except that he was Forepaugh, which meant, according to his own reckoning, the most wonderful person on earth. He was one of the sort of men whose habit is to turn up wherever you may happen to be, in whatever part of the world, with no apparent reason for being there except to talk to you,--the last time we met was in a remote corner of Kensington Gardens in London, where he took up the talk just where we had left off at the _Nazionale_ in Rome--and as it is years since he has turned up anywhere to talk to us, I fear he has joined the Philadelphia Architect and Donoghue where he will talk no more.

In sheer physical power of speech he was without a rival and none surpassed him in appreciation of his eloquence. His interest never flagged so long as he held the floor, though when we wanted him to listen to us, he did not attempt to conceal his indifference. We could not tell him anything, for there was nothing about which he did not know more than we could hope to. He, at any rate, had no doubt of his own omniscience. Judging from the intimate details with which he regaled us, he was equally in the confidence of the Vatican and the Quirinal, equally at home with the Blacks and the Whites. The secrets of the Roman aristocracy were his, he was the first to hear the scandals of the foreign colony. The opera depended upon his patronage and balls languished without him, though I could never understand how or why, so rarely did he leave us to enjoy them. Every archæologist, every scholar, every historian in Rome appealed to him for help, and as for art, it was folly for others to pretend to speak of it in his presence. He called himself an artist and for a time he used to go with J. to Gigi's, the life school where artists then in Rome often went of an afternoon to draw from the model. But J. never saw him there with as much as a scrap of paper or a pencil in his hands, and nobody ever saw him at work anywhere. For what he did not do he made up by telling us of what he might do. His were the pictures unpainted which, like the songs unsung, are always the best. He condescended to approve of the Old Masters, assured that the masterpieces he might choose to produce must rank with theirs, but he never forgot the great gulf fixed between himself and the Modern Masters, whose pictures were worthy of his approval only when he had been their inspiration. It was fortunate for American Art that scarcely an American artist could be named whom Forepaugh had not inspired. And if he praised Abbey and Millet more than most, it was because he had posed for both and could answer for it that Millet's porch, or studio, or dining-room, which had had the honour of serving as his background, was as true as the figure of himself set against it.

Like all talkers who know too much, Forepaugh had, what Carlyle called, a terrible faculty for developing into a bore. Some of our little group would run when they saw him at the door, others took malicious pleasure in interrupting him and suddenly changing the conversation in the hope to catch him tripping. But out of all such tests he came triumphantly. I never thought him more wonderful than the evening when somebody abruptly began to talk about Theosophy in the middle of one of his confidences about the Italian Court. It was no use. Without stopping to take breath, at once Forepaugh began to tell us the most marvellous theosophical adventures, which he knew not by hearsay, but because he had passed through them himself. We might express an opinion: he stated facts. And it seemed that he had no more intimate friend than Sinnett, and that to Sinnett he had confessed his scepticism, asking for a sign, a manifestation, and that one afternoon when they were smoking over their coffee and cognac after lunch in Sinnett's chambers, then on the third floor of a house near the Oxford Street end of Bond Street--Forepaugh was carefully exact in his details--Sinnett smiled mysteriously but said nothing except to warn him to hold on tight to the table. And up rose the table, with the litter of coffee cups, cigars, and cognac, up rose the two chairs, one at either end with Sinnett and Forepaugh sitting on them, and away they floated out of the open window--it was a June afternoon--and along Bond Street, above the carriages and the hansoms and omnibuses and the people as far as Piccadilly, and round the lamp post by Egyptian Hall, up Bond Street again, and in at the window. "Hold on," said Sinnett, and "I never held on to anything as tight in my life as I did to that table," said Forepaugh in conclusion.

He always reminded me of the man who so annoyed my Uncle, Charles Godfrey Leland, by always knowing, doing, or having everything better or bigger than anybody else. "Why, if I were to tell him I had an elephant in my back yard," my Uncle used to say, "he would at once invite me to see the mastodon in his." Forepaugh had a mastodon up his sleeve for everybody else's elephant.

V

If Forepaugh gave us a great deal of information we had no possible use for and talked us to despair, he was really a good fellow whom we should have missed from our table. And it was through him J. and I were first made welcome in that one house open to us, to which I have been all this time in coming. For it was Forepaugh who told Vedder we were in Rome, and Vedder, once he knew it, would not hear of our shutting his door in our own faces, nor would Mrs. Vedder, whatever the condition of our wardrobe.

Vedder may have revealed many things in his recent _Digressions_, but not the extent of the hospitality he and his wife showed to the American who was a stranger in Rome, where, even then, they had been long at home. Mrs. Vedder carried her amiability to the point of climbing our six flights of stairs and calling on me in the rooms that suited us admirably for our work but were less adapted to afternoon receptions, and she would have gone further and shown me how to adapt them by moving every bit of furniture from where it was and arranging it all over again. Not the least part of her friendliness was not to mind when I did not fall in with her plans, as I couldn't, since so long as the sun shone in at the windows all was right with the rooms as far as I could see. I was in the absurd stage of industry when I did not care where my Roman furniture stood so long as my Roman tasks got done. Even our _padrona_ told me her surprise that, foreigner as I was, I seemed to do as much work as she did, which I accepted as a compliment. After that first attempt Mrs. Vedder did not return to climb our six flights, but she would not let us off from climbing her four or five.

Often as we took advantage of their hospitality, we never found the Vedders alone and, chiefly American as was the group at their fireside, it was never without a foreigner or two. The first person we were introduced to on the first visit was the Englishman who would have deserted us in the _Ghetto_ had we let him have his way, and who, when he saw us, looked as if he wished the Vedders had learned to be less indiscriminate in their hospitality. We had the satisfaction of knowing that we made him supremely uncomfortable. He frowned upon us then as he continued to all through the winter. He could not forgive us for having found him out and was evidently afraid we were going to tell everybody about it. He was something very learned and was occupied in writing a book on Ancient Rome; later he became something more important at South Kensington. But no degree of learning and importance helped him to forget, or anyway to forgive. At chance meetings years afterwards in London he frowned, as no doubt he would still had he not long since gone to the land where I hope all frowns are smoothed from his frowning brow.

If he frowned, there was another Englishman who smiled: an elderly man with the imperturbable serenity of a Buddha. He also had written books, I believe. I remember articles by him, with art for subject, in the _Portfolio_ at a time when everybody had taken to writing about art, and I think his name was Davies. But it would be more in character to forget that he ever worked or had a name. When I was in Rome he had risen above activity and toil to the contemplative life and, I suppose, to the income that made it possible. One night he explained his philosophy to me. Men could not be happy without sunshine, he thought. The sun was house, food, clothes, furniture, identity, everything, and as most of the year in England sunshine was not to be had at any price, he had come to live in Rome where almost all the year it was his for nothing. He sat on the Pincian or in other gardens during the day, doing nothing in the sunshine--that was living. And he urged me to follow his example and not to wait until half my life had been wasted in the pursuit of happiness where it was not to be found. He may have been right, but I never needed to become a philosopher to value the virtue of indolence,--my trouble is that I have never had the money to pay for it. Any man has the ability to do nothing, a great authority has said, and I can answer for one woman who has more than her fair share of it. I have always envied the North American Indians for their enjoyment of what it seems Burke attributed to them: "the highest boon of Heaven, supreme and perpetual indolence."

As regular a visitor was a huge long-bearded Norwegian who looked a prophet and was an artist, and who spent most of the winter in the study of Marion Crawford's novels, I cannot imagine why, as they roused him to fury.

"Marion Crawford," he would thunder at us as if somehow we were responsible, "Bah! He is a weak imitator of Bulwer, that is all, and he has not Bulwer's power of construction. He is not Bulwer. No. He is a weakling. Bah!"

My only quarrel with Marion Crawford's books was that they never excited strong emotion in me, one way or the other, and I was so puzzled by his excitement that I remember I went to the trouble of getting out _Mr. Isaacs_ and _A Roman Singer_ from Piali's Library in the _Piazza di Spagna_, that centre of learning and literature for the English in Rome where, one day when I asked for Pepys's Diary, they offered me Marcus Ward's. A new course of Marion Crawford left me as puzzled as ever for the reason of the Norwegian's rage, and I was the more impressed with the possibilities of a temperament that could heat itself to such a degree at so lukewarm a fire.

We were as certain to find this fiery Norseman and the two Englishmen any night we called as Vedder himself. Other men came and went, amongst them a few Italians and Frenchmen and more Americans, Coleman for one among them, but none could have appeared as regularly, so much fainter is the impression they have left with me. Naturally, they were mostly artists and at Vedder's, as at the _café_, the talk was chiefly of art. There was little of his work to see, for his studio was some distance from his apartment. But it was enough to see Vedder himself or, for that matter, enough to hear him. In his own house he led the talk, even Forepaugh having small chance against him. He was as prolific, a splendidly determined and animated talker. It was stimulating just to watch him talk. He was never still, he rarely sat down, he was always moving about, walking up and down, at times breaking into song and even dance. He was then in his prime, large, with a fine expressive face, and as American in his voice, in his manner, in his humour as if he had never crossed the Atlantic. The true American never gets Europeanized, nor does he want to, however long he may stay on the wrong side of the Atlantic. When I was with Vedder, Broadway always seemed nearer than the _Corso_.

He had recently finished the illustrations for the _Rubaiyat_ and the book was published while we were in Rome. It was never long out of his talk. He would tell us the history of every design and of every model or pot in it. He exulted in the stroke of genius by which he had invented a composition or a pose. I have heard him describe again and again how he drew the flight of a spirit from a model, outstretched and flopping up and down on a feather bed laid upon the studio floor, until she almost fainted from fatigue, while he worked from a hammock slung just above. I recall his delight when a friend of Fitzgerald's sent him Fitzgerald's photograph with many compliments, asking for his in return. And he rejoiced in the story of Dr. Chamberlain filling a difficult tooth for the Queen and all the while singing the praises of the _Rubaiyat_ until she ordered a copy of the _édition de luxe_. In looking back, I always seem to see Mrs. Vedder pasting notices into a scrap book, and to hear Vedder declaiming Omar's quatrains and describing his own drawings. There was one evening when he came to a dead stop in his walk and his talk, and shaking a dramatic finger at us all, said:

"I tell you what it is. I am not Vedder. I am Omar Khayyam!"

"No," drawled the voice of a disgusted artist who had not got a word in for more than an hour, "No, you're not. You're the Great I Am!"

Vedder laughed with the rest of us, but I am not sure he liked it. He could and did enjoy a joke, even if at his expense. I remember his delight one night in telling the story of an old lady who had visited his studio during the day and who sat so long in front of one of his pictures he thought it was having its effect, but whose only comment at the end of several minutes was: "That's a pretty frame you have there!" He was sensitive to criticism, however, though he carried it off with a laugh. Clarence Cook was one of the critics of his Omar who offended him.

"It's funny," Vedder said, "all my life I've hurt Clarence's feelings. He always has been sure I have done my work for no other reason than to irritate him, and now that's the way he feels about the Omar."

The laugh was not so ready when Andrew Lang--I think it was Lang--wrote that Vedder's Omar Khayyam was not of Persia, but of Skaneateles. And after I suggested that it was really of Rome, and some mistaken friend at home sent my article to Vedder, I never thought him quite so cordial.

VI

And so the winter passed. For us there was always a refuge from our cold rooms at the _café_ or at Vedder's, and it was seldom we did not profit by it.

Occasionally during our rambles we stumbled unexpectedly upon old friends "doing Italy" and genuinely glad to see us, as we were to see them, inviting us to their hotels at every risk of the disapproval of manager and porters and waiters; and so powerful was the influence of Rome and the _café_ that now the marvel was to sit and listen to talk about Philadelphia, and where everybody was going for the summer, and who was getting married, and who had died, and what Philadelphia was thinking and doing, as if, after all, there were still benighted people in the world who believed not in art, but in Philadelphia as of supreme importance.

Occasionally we made new friends outside of our pleasant _café_ life. I have forgotten how, though I have not forgotten it was in Rome, thanks to a letter of introduction from Dr. Garnett of the British Museum, that we first met Miss Harriet Waters Preston, who, for her part, had already introduced me to Mistral--how many Americans had heard of Mistral before she translated _Mirèio_?--and who now accepted us, cycling tweeds and all, notwithstanding the shock they must have been to the admirably appointed _pension_ where she stayed. She also climbed our six flights, her niece and collaborator, Miss Louise Dodge, with her, probably both busy that winter collecting facts for their _Private Life of the Romans_, and where could they have found a more perfect background for the past they were studying than when they looked down from our windows over Rome, to the _Campagna_ beyond, and upon the horizon the shining line that we knew was the Mediterranean,--over all the beauty that has not changed in the meanwhile, though old streets and old villas and old slums have vanished. And at these times, in the talk, not Philadelphia, but literature was for a while art's rival.

And there were days when we played truant and climbed down in the morning's first freshness from the high room overlooking Rome and the work that had to be done in it, and loafed all day in Roman galleries and at Roman ceremonies, or strayed to places further afield--Tivoli, Albano, Ostia, Marino, Rocca di Papa,--getting back to Rome with feet too tired to take us anywhere except up our six flights again. And there were nights when the affairs of Rome drew us from the _café_. I remember once our little group interrupted their interminable arguments long enough to see the Tiber in flood, down by the _Ripetta_, where people were going about in boats, and Rome looked like the Venice to which I had then never been, and we met King Humbert and Queen Margherita in his American trotting wagon driving down alone so as to show their sympathy, for, whatever they may not have done, they always appeared in person when their people were in trouble: not so many weeks before we had watched the enthusiasm with which the Romans greeted King Humbert on his return from visiting the cholera-stricken town of Naples. And I remember on _Befana_ Night we adjourned to the _Piazza Navona_ to blow horns and reed whistles into other people's ears and to have them blown into ours. For the humours of the Carnival there was no need to leave the _café_, where one _Pulcinello_ after another broke into our talk with witticisms that kept the _café_ in an uproar, and for me destroyed whatever sentiment there might have been in the thought that this was my last night in Rome--the last of the friendly nights of talk in the _Nazionale_ to which we always returned no matter how far we might occasionally stray from it--the friendly nights of talk when I learned my folly in ever having believed that anything in the world mattered, that anything in the world existed, save art.

_Pulcinello_, the newest of our Roman friends, went with us from Rome, following us to Naples, a familiar face to lighten our homesickness for the rooms full of sunshine at the top of the high house on the top of the high hill, and for the blue plush and the gilding and the mirrors and the talk of the _Nazionale_.

And _Pulcinello_ went with us to Pompeii, reappearing during our nights at the _Albergo del Sole_, that most delightful and impossible of all the inns that ever were. It may have vanished in the quarter of a century that has passed since the February day I came to it, when the sky was as blue as the sea, and a soft cloud hung over Vesuvius, and flowers were sweet in the land--can anyone who ever smelt it forget the sweetness of the flowering bean in the wide fields near the Bay of Naples? But Pompeii could never be the same without the _Sole_. And it was made for our shabbiness, its three tumbled-down little houses ranged round the three sides of an unkempt, mud-floored court; our bedroom without lock or latch and with a mirror cracked from side to side like the Lady of Shalott's, though for other reasons; the dining-room with earthen floor, walls decorated by a modern-primitive fresco of the _padrone_ holding a plate of _maccheroni_ in one hand and a flask of _Lachrima Christi_ in the other, a central column spreading out branches like a tree and bearing for fruit row upon row of still unopened bottles, a door free to all the stray monks and beggars of Pompeii--to all the fowls too, including the gorgeous peacock that strolled in after its evening walk with the young Swiss artist on the flat roof of the inn where, together, they went before dinner to watch the sunset.