represented a starving, emaciated vagabond.

True to life as this figure might be, it seemed to him reprehensible, for
it had already induced others to choose similar vulgar subjects.

When recently at Althea's performance he had met Hermon and saw how
quickly his beautiful travelling companion allowed herself to be induced
to bestow the wreath on the handsome, black-bearded fellow, it vexed him,
and he had therefore treated him with distant coldness, and allowed him
to perceive the disapproval which the direction taken by his art had
awakened in his mind.

In the presence of Hermon's Demeter, the opinion of the experienced man
and intelligent connoisseur had suddenly changed.

The creator of this work was not only one of the foremost artists of his
day, nay, he had also been permitted to fathom the nature of the deity
and to bestow upon it a perfect form.

This Demeter was the most successful personification of the divine
goodness which rewards the sowing of seed with the harvest. When Hermon
created it, Daphne's image had hovered before his mind, even if he had
not been permitted to use her as a model, and of all the maidens whom he
knew there was scarcely one better suited to serve as the type for the
Demeter.

So what he had seen in Pelusium, and learned from women, was true. The
heart and mind of the artist who had created this work were not filled
with the image of Althea--who during the journey had bestowed many a mark
of favour upon the aging man, and with whom he was obliged to work hand