else, for the Florentine school of painting was the first of importance
in Italy.

"So," he concluded, "do not look for beauty in these pictures which we
are first to study; instead of it, you will find much ugliness. But
strive to put yourselves into the place of the old artists, to feel as
they felt. See what impelled them to paint. Recognize the feebleness of
their means of expression. Watch for indications in history of the
effect of their pictures upon the people. Strive to find originality in
them, if it be there, for this quality gives a man's work a certain
positive greatness wherever we find it; and so learn to become worthy
judges of that which you study. Soon, like me, you will look with pity
on those who can see nothing worthy of a second glance in these
treasures of the past.

"There! I have preached you a sermon, I am afraid. Are you tired?" and
his bright glance searched the faces about him.

Their expression would have been satisfactory without the eager
protestations that answered his question.

When, a little later, Barbara and Bettina, each seated before her dainty
toilet-table, were brushing their hair, they, as usual, chatted about
the events of the day. Never had there been so much to talk over and so
little time to do it in as during these crowded weeks, when pleasure and
study were hand in hand. For though they read and studied, yet there
were drives, and receptions in artists' studios, and, because of Robert
Sumner's long residence in Florence, they had even begun to receive
invitations to small and select parties, where they met charming people.