many trumpet blasts. The fiction which followed the war was yet all to
come. Whatever was done in any kind had some hint of the war in it,
inevitably; though in the very heart of it Longfellow was setting about
his great version of Dante peacefully, prayerfully, as he has told in the
noble sonnets which register the mood of his undertaking.

At Venice, if I was beyond the range of literary recognition I was in
direct relations with one of our greatest literary men, who was again of
that literary Boston which mainly represented American literature to me.
The official chief of the consul at Venice was the United States Minister
at Vienna, and in my time this minister was John Lothrop Motley, the
historian. He was removed, later, by that Johnson administration which
followed Lincoln's so forgottenly that I name it with a sense of
something almost prehistoric. Among its worst errors was the attempted
discredit of a man who had given lustre to our name by his work, and who
was an ardent patriot as well as accomplished scholar. He visited Venice
during my first year, which was the darkest period of the civil war, and
I remember with what instant security, not to say severity, he rebuked my
scarcely whispered misgivings of the end, when I ventured to ask him what
he thought it would be. Austria had never recognized the Secessionists
as belligerents, and in the complications with France and England there
was little for our minister but to share the home indignation at the
sympathy of those powers with the South. In Motley this was heightened
by that feeling of astonishment, of wounded faith, which all Americans
with English friendships experienced in those days, and which he, whose
English friendships were many, experienced in peculiar degree.

I drifted about with him in his gondola, and refreshed myself, long
a-hungered for such talk, with his talk of literary life in London.
Through some acquaintance I had made in Venice I was able to be of use to