have the other artists to visit.'

They next went to Bagswell's studio, in the Viccolo dei Greci, and found
him in a large room, well furnished, and having a solidly comfortable
look; the walls ornamented with paintings, sketches, costumes, armor;
while in a good light under its one large window, was his painting. They
found he had left his beaten track of historical subjects, and in the
_genre_ school had an interior of an Italian country inn--a
kitchen-scene. It represented a stout, handsome country girl, in
Ciociara costume, kneading a large trough of dough, while another girl
was filling pans with that which was already kneaded, and two or three
other females were carrying them to an oven, tended by a man who was
piling brush-wood on the fire. The painting was very life-like, and for
the short time employed on it, well finished. It wanted the fire and
dash of Légume's painting, but its truthfulness to life evidently made a
deep impression on Uncle Bill. Stuck on with a sketching-tack to one
corner was a piece of paper, on which was marked the number of hours
employed each day on the work; it summed up fifty-four hours, or an
average each day of nearly eight hours' work on it.

Mr. Pinchfip's note-book was again called into play. Mr. Van Brick had
another cigar to smoke, remarking that the artist had triple work in his
picture--head, bread, and prize-work: his picture representing working
in, over, and for bread!

They next went to see Rocjean, in the Corso; they found him in a
bournouse, with a fez on his head, a long chibouk in his mouth, smoking
away, extended at full length on a settee, which he insisted was a
divan. There was a glass bottle holding half a gallon of red wine on a
table near him, also a bottle of Marsala, and half a dozen glasses.