mentions his discovery to the English. He is more dangerous with the
_fleurette_ than many a trooper with broadsword. Every thing that he
appropriates, he stamps with the character of his own nationality. The
English race-horse at Chantilly has an air of curl-papers about his mane
and tail.

The Italian artist--the night-season is for sleep.

The English artist--hearken to Ruskin on Turner! When one has hit the
bull's-eye, there is nothing left but to lay down the gun, and go and
have--a whitebait dinner.

The American artist--there is danger of the youthful giant kicking out
the end of the Cradle of Art, and 'scatterlophisticating rampageously'
over all the nursery.

'I'd jest give a hun-dred dol-lars t'morrow, ef I could find out a way
to cut stat-tures by steam,' said Chapin, the sculptor.

'I can't see why a country with great rivers, great mountains, and great
institutions generally, can not produce great sculptors and painters,'
said Caper sharply, one day to Rocjean.

'It is this very greatness,' answered Rocjean, 'that prevents it. The
aim of the people runs not in the narrow channel of mountain-stream, but
with the broad tide of the ocean. In the hands of Providence, other
lands in other times have taken up painting and sculpture with their
whole might, and have wielded them to advance civilization. They have
played--are playing their part, these civilizers; but they are no longer
chief actors, least of all in America. Painting and sculpture may take