had begun to tickle their summits, and brought the smell of the mown grass across from the elm-dotted river meadows. He sat up beside his companion and looked away at the far-spreading view. It seemed to him beautiful, and suddenly a strange feeling of prospective regret took possession of him. Something seemed to tell him that later, in a foreign land, he would remember it lovingly and penitently.
'It 's a wretched business,' he said, 'this practical quarrel of ours with our own country, this everlasting impatience to get out of it. Is one's only safety then in flight? This is an American day, an American landscape, an American atmosphere. It certainly has its merits, and some day when I am shivering with ague in classic Italy, I shall accuse myself of having slighted them.'
Roderick kindled with a sympathetic glow, and declared that America was good enough for him, and that he had always thought it the duty of an honest citizen to stand by his own country and help it along. He had evidently thought nothing whatever about it, and was launching his doctrine on the inspiration of the moment. The doctrine expanded with the occasion, and he declared that he was above all an advocate for American art. He did n't see why we should n't produce the greatest works in the world. We were the biggest people, and we ought to have the biggest conceptions. The biggest conceptions of course would bring forth in time the biggest performances. We had only to be true to ourselves, to pitch in and not be afraid, to fling Imitation overboard and fix our eyes upon our National Individuality. 'I declare,' he cried, 'there 's a career for a man, and I 've twenty minds to decide, on the spot, to embrace it—to be the consummate, typical, original, national American artist! It 's inspiring!'
Rowland burst out laughing and told him that he liked his practice better than his theory, and that a saner impulse than this had inspired his little Water-drinker. Roderick took no offense, and three minutes afterwards was talking volubly of some humbler theme, but half heeded by his companion, who had returned to his cogitations. At last Rowland delivered himself of the upshot of these. 'How would you like,' he suddenly demanded, 'to go to Rome?'
Hudson stared, and, with a hungry laugh which speedily consigned our National Individuality to perdition, responded that he would like it reasonably well. 'And I should like, by the same token,' he added, 'to go to Athens, to Constantinople, to Damascus, to the holy city of Benares, where there is a golden statue of Brahma twenty feet tall.'
'Nay,' said Rowland soberly, 'if you were to go to Rome, you should settle down and work. Athens might help you, but for the present I should n't recommend Benares.'
'It will be time to arrange details when I pack my trunk,' said Hudson.
'If you mean to turn sculptor, the sooner you pack your trunk the better.'
'Oh, but I 'm a practical man! What is the smallest sum per annum, on which one can keep alive the sacred fire in Rome?'
'What is the largest sum at your disposal?'
Roderick stroked his light moustache, gave it a twist, and then announced with mock pomposity: 'Three hundred dollars!'
'The money question could be arranged,' said Rowland. 'There are ways of raising money.'
'I should like to know a few! I never yet discovered one.'
'One consists,' said Rowland, 'in having a friend with a good deal more than he wants, and not being too proud to accept a part of it.'
Roderick stared a moment and his face flushed. 'Do you mean—do you mean?'.... he stammered. He was greatly excited.
Rowland got up, blushing a little, and Roderick sprang to his feet. 'In three words, if you are to be a sculptor, you ought to go to Rome and study the antique. To go to Rome you need money. I 'm fond of fine statues, but unfortunately I can't make them myself. I have to order them. I order a dozen from you, to be executed at your convenience. To help you, I pay you in advance.'
Roderick pushed off his hat and wiped his forehead, still gazing at his companion. 'You believe in me!' he cried at last.
'Allow me to explain,' said Rowland. 'I believe in you, if you are prepared to work and to wait, and to struggle, and to exercise a great many virtues. And then, I 'm afraid to say it, lest I should disturb you more than I should help you. You must decide for yourself. I simply offer you an opportunity.'
Hudson stood for some time, profoundly meditative. 'You have not seen my other things,' he said suddenly. 'Come and look at them.'
'Now?'
'Yes, we 'll walk home. We 'll settle the question.'
He passed his hand through Rowland's arm and they retraced their steps. They reached the town and made their way along a broad country street, dusky with the shade of magnificent elms. Rowland felt his companion's arm trembling in his own. They stopped at a large white house, flanked with melancholy hemlocks, and passed through a little front garden, paved with moss-coated bricks and ornamented with parterres bordered with high box hedges. The mansion had an air of antiquated dignity, but it had seen its best days, and evidently sheltered a shrunken household. Mrs. Hudson, Rowland was sure, might be seen in the garden of a morning, in a white apron and a pair of old gloves, engaged in frugal horticulture. Roderick's studio was behind, in the basement; a large, empty room, with the paper peeling off the walls. This represented, in the fashion of fifty years ago, a series of small fantastic landscapes of a hideous pattern, and the young sculptor had presumably torn it away in great scraps, in moments of aesthetic exasperation. On a board in a corner was a heap of clay, and on the floor, against the wall, stood some dozen medallions, busts, and figures, in various stages of completion. To exhibit them Roderick had to place them one by one on the end of a long packing-box, which served as a pedestal. He did so silently, making no explanations, and looking at them himself with a strange air of quickened curiosity. Most of the things were portraits; and the three at which he looked longest were finished busts. One was a colossal head of a negro, tossed back, defiant, with distended nostrils; one was the portrait of a young man whom Rowland immediately perceived, by the resemblance, to be his deceased brother; the last represented a gentleman with a pointed nose, a long, shaved upper lip, and a tuft on the end of his chin. This was a face peculiarly unadapted to sculpture; but as a piece of modeling it was the best, and it was admirable. It reminded Rowland in its homely veracity, its artless artfulness, of the works of the early Italian Renaissance. On the pedestal was cut the name—Barnaby Striker, Esq. Rowland remembered that this was the appellation of the legal luminary from whom his companion had undertaken to borrow a reflected ray, and although in the bust there was naught flagrantly set down in malice, it betrayed, comically to one who could relish the secret, that the features of the original had often been scanned with an irritated eye. Besides these there were several rough studies of the nude, and two or three figures of a fanciful kind. The most noticeable (and it had singular beauty) was a small modeled design for a sepulchral monument; that,
