purpose of providing funds to build the sixteenth century, this synoptic intelmetropolitan church of Christendom lectual power worked in perfect identity with the assistance of Raphael; and with the pictorial imagination and a yet, upon another of those diverse out- magic hand. By him large theoretic ways of his so versatile intelligence, at conceptions are addressed, so to speak, the close of which we behold his unfin- to the intelligence of the eye. There ished picture of the Transfiguration, had been efforts at such abstract or what has been called Raphael's Bible theoretic painting before, or say, rather, finds its place that series of biblical leagues behind him. Modern efforts, scenes in the Loggie of the Vatican. again, we know, and not in Germany And here, while he has shown that he alone, to do the like for that larger surcould do something of Michelangelo's vey of such matters which belongs to work a little more soothingly than he, the philosophy of our own century, but this graceful Roman Catholic rivals also for one or many reasons they have what is perhaps best in the work of the seemed only to prove the incapacity of rude German reformer- of Luther who philosophy to be expressed in terms of came to Rome about this very time, to art. They have seemed, in short, so find nothing admirable there. Place, far, not fit to be seen literally - those along with them, the Cartoons, and ob- ideas of culture, religion, and the like. serve that in this phase of his artistic Yet Plato, as you know, supposed a labor, as Luther printed his vernacular kind of visible loveliness about ideas. German version of the Scriptures, so Well! in Raphael, painted ideas, painted Raphael is popularizing them for an and visible philosophy are for once as even larger world; brings the simple, beautiful as Plato thought they must be, to their great delight, face to face with if one truly apprehended them. For the Bible as it is, in all its variety of note, above all, that with all his wealth incident, after they had so long had to of antiquarian knowledge in detail, and content themselves with but fragments with a perfect technique, it is after all of it, as presented in the symbolism and the beauty, the grace of poetry, of pain the brief lections of the liturgy: gan philosophy, of religious faith that Biblia Pauperum, in a hundred forms of he thus records. reproduction, though designed for popes and princes.

Of religious faith also. The "Disputa," in which, under the form of a council representative of all ages, he embodies the idea of theology, divinarum rerum notitia, as constantly resident in the Catholic Church, ranks with the

ens," if it does not rather close another of his long lines of intellectual travail

But then, for the wise, at the end of yet another of those divergent ways, glows his painted philosophy in the "Parnassus" and the "School of Athens," with their numerous accessories." Parnassus" and the "School of AthIn the execution of those works, of course, his antiquarian knowledge stood him in good stead; and here, above all, a series of compositions, partly symis the pledge of his immense under- bolic, partly historical, in which the standing, at work on its own natural "Deliverance of St. Peter from Prison,” ground on a purely intellectual deposit, the apprehension, the transmission to others of complex and difficult ideas. We have here, in fact, the sort of intelligence to be found in Lessing, in Herder, in Hegel, in those who, by the instrumentality of an organized philosophic system, have comprehended in one view or vision what poetry has been, or what Greek philosophy, as great complex dynamic facts in the world. But then, with the artist of the

the "Expulsion of the Huns," and the "Coronation of Charlemagne," find their places; and by which, painting in the great official chambers of the Vatican, Raphael asserts, interprets the power and charm of the Catholic ideal as realized in history. A scholar, a student of the visible world, of the natural man, yet even more ardently of the books, the art, the life of the old pagan world, the age of the Renaissance had been, through all its varied activity, in

spite of the weakened hold of Catholi-ure one has in a proposition of Euclid, cism on the critical intellect still under a sense of the power of the understandits influence, the glow of it, as a reli-ing, in the economy with which he has gious ideal, and in the presence of reduced his material to the simplest Raphael you cannot think it a mere after- terms, has disentangled and detached glow. Independently, that is, of less or its various elements. He is painting in more evidence for it, the whole creed of Florence, but for Perugia, and sends it the Middle Age, as a scheme of the world a specimen of its own old art - Mary as it should be, as we should be glad to and the babe enthroned, with St. Nicofind it, was still welcome to the heart, las and the Baptist in attendance on the imagination. Now, in Raphael, all either side. The kind of thing people the various conditions of that age dis- there had already seen so many times, cover themselves as characteristics of a but done better, in a sense not to be vivid personal genius, which may be measured by degrees, with a wholly said therefore to be conterminous with original freedom and life and grace, the genius of the Renaissance itself. though he perhaps is unaware, done For him, then, in the breadth of his better as a whole, because better in immense cosmopolitan intelligence, for every minute particular, than ever beRaphael, who had done in part the work fore. The scrupulous scholar, aged of Luther also, the Catholic Church-twenty-three, is now indeed a master; through all its phases, as reflected in its visible local centre, the papacy is alive still as of old, one and continuous, and still true to itself. Ah! what is local and visible, as you know, counts for so much with the artistic temper!

Old friends or old foes, with but new faces, events repeating themselves, as his large, clear, synoptic vision can detect, the invading king of France, Louis XII., appears as Attila; Leo X. as Leo I.; and he thinks of, he sees, at one and the same moment, the coronation of Charlemagne and the interview of Pope Leo with Francis I., as a dutiful son of the Church; of the deliverance of Leo X. from prison, and the deliverance of St. Peter.

I have abstained from anything like description of Raphael's pictures in speaking of him and his work, have aimed rather at preparing you to look at his work for yourselves, by a sketch of his life, and therein especially, as most appropriate to this place, of Raphael as a scholar. And now if, in closing, I commend one of his pictures in particular to your imagination or memory, your purpose to see it, or see it again, it will not be the Transfiguration nor the Sixtine Madonna, nor even the "Madonna del Gran Duca," but the picture we have in London - the Ansidei, or Blenheim, Madonna. I find there, at first sight, with something of the pleas

but still goes carefully. Note, therefore, how much mere exclusion counts for in the positive effect of his work. There is a saying that the true artist is known best by what he omits. Yes, because the whole question of good taste is involved precisely in such jealous omission. Note this, for instance, in the familiar Apennine background, with its blue hills and brown towns, faultless, for once for once onlyand observe, in the Umbrian pictures around, how often such background is marred by grotesque, natural, or architectural detail, by incongruous or childish incident. In this cool, pearl-grey, quiet place, where color tells for double

-the jewelled cope, the painted book in the hand of Mary, the chaplet of red coral – one is reminded that among all classical writers Raphael's preference was for the faultless Virgil. How orderly, how divinely clean and sweet the flesh, the vesture, the floor, the earth and sky! Ah, say rather the hand, the method of the painter! There is an unmistakable pledge of strength, of movement and animation in the cast of the Baptist's countenance, but reserved, repressed. Strange, Raphael has given him a staff of transparent crystal. Keep, then, to that picture as the embodied formula of Raphael's genius. Amid all he has here already achieved, full, we may think, of the quiet assur

"And beyond ?"

"To the Pascal River."

"And my home is at the Pascal River. How dim the sunshine has become! I can only see It now - like a long, dark finger."

"No, child; there is bright sunshine still; there is no cloud at all; but It is like a finger; it is quivering now, as if it were not sure."

"Yet was not that the gleam of bayonets near the palisade ?"

"But bayonets are not human, neither here in Noumea, nor yet on Isle Nou over there."

"You are sad to-day, my Marie. Have you had lonely dreams ?"

"You are human, madame. It is like summer always where you are. Is it very bright out there, just now? Sometimes sometimes, madame, things are so dark to me."

66 Marie, turn your face to me so! Your eyes do not see, my child, because they are full of tears. The cloud is in them, not on the world. See, I kiss this rain away."

"Yes, it is my eyes, madame."
"It is the tears, Marie."

weep for the cloud out there upon the world, and yet the cloud is in my eyes."

"You weep because of It, Marie. Your heart is tender. Your tears are for the prisoner - the hunted in the chase."

66 No, madame, I am selfish; I weep for myself. Tell me truly, as — as if I were your own child was there no cloud, no darkness, out there?" “None, dear.”

"Then-then-madame, I suppose it was my tears."

"Yes, Marie, it was your tears." But each said in her heart that it was not tears; each said: "Let not this "Thanksgiving, if it be not sure! thing come, O God." And then with a caress they parted; but the girl re

- but the hill is cloudy still."

"No, Marie, how droll you are!-mained to watch, as it might be granted the hill is not cloudy; even from here to her, that gloomy thing upon the Hill one can see something glisten beside of Pains. the grove of pines."

"I know. It is the White Rock where King Ovi died, but whose burialplace none knows."

"A black king merely."

"His heart was not black; there are stains upon White Rock, and they are red. Is it still upon the Hill of Pains, madame?"

"Yes, still, and pointing as you say, like a human finger towards Winter Valley."

"I did not say a human finger, madame; there is nothing human there."

As she stood there, with her fingers clasped upon a letter, which she drew from her pocket and looked at once or twice, a voice from among the palms outside floated towards her. It was speaking thus: "He escaped last night; the semaphore, there upon the Hill of Paius, shows that they have got upon his track. I suppose they'll try to converge upon him, and hem him in, before he gets to Pascal River. Once there he might have a chance of escape; but he'll need a lot of luck, poor wretch!"

Marie's fingers tightened on the let- this uniform less burdensome for me to

"By being on the side of justice and public morality; by dining with me (though all too seldom); by giving me "Or something else," the governor a quiet hour now and then beneath rather sharply interrupted; and then, your vines and fig-trees; and so making as they were entering the room, gaily

continued: "Ah, here we come, made- | Mayer said the other day in the face of moiselle, to Charpentier, the commandant of the

“ To pay your surplus of compliments, penitentiary. How pleasant also to Monsieur le Gouverneur. I could not think of the Boulevard de Guillotine! help but hear something of what you I tell you it is brutal, horrible. Think said. Mr. Farling, I am glad to see of what prisoners have to suffer here, you. Let me think; how long is it whose only crime is that they were of since you were patriotic ?" the Commune; that they were just a "I am afraid I do not quite under- little madder than other Frenchmen." stand, Miss Gorham."

"Pardon me, if I say that as brutal things were done by the English in Tasmania."

"Think of two hundred and sixty strokes of the 'cat'!"

"You concern yourself too much about these things, I fear."

"I only think that death would be easier than the life of half the convicts here."

"They themselves would prefer it, perhaps.”

"Believe me, Miss Gorham," replied Murray Farling, with the blood quickening at his heart, "believe me, to be patriotic, one does not kneel continuously at the foot of the throne; besides, the court is not always open to sub- "Tell me, who is the convict that jects." has escaped?" she rather feverishly "And subjects have plantations and asked. "Is it a political prisoner ?"

66 Sad? and wherefore sad? Is nickel proving a drug? Or sugar? Don't tell me that your father says sugar is falling." He glanced at the letter, which she unconsciously held in her hand.

The girl's earnestness roused in Murray Farling a glow of intense sympathy; a sympathy which had its origin, as he well knew, in three years of growing love. This love leaped up now deterShe saw his look, smoothed the letter minedly, and perhaps unwisely; but a little nervously between her palms, what should a blunt soul like Murray and put it in her pocket, replying: "No, Farling know regarding the best or father has not said that sugar is falling worst time to seek a woman's heart? but come here, will you?" and she He came close to her now and said : motioned towards the open window." If you are so kind in thought for a When there, she said slowly: "That is convict, I dare hope that you would be what makes me sad and sorry," and she more kind to me." pointed to the semaphore upon the Hill of Pains.

"Be kind to you," she replied, as if not understanding what he said, nor the look in his eyes.

"For I am a prisoner, too."

"You a prisoner?" she a little tremulously, a little coldly, rejoined. "In your hands, Marie Gorham." His eyes laid bare his heart.

"Oh," she replied, in a half-troubled, half-indignant fashion, for she was out of touch with the occas on of his suit,