from the first. 'T was a year ago last side,— but all her money in the Savin's Bank, six hundred and seventy-nine dollars and a half, to Eber Nicholson. The doctor writ out to Illinois, an' found he 'd gone to Kansas, a year before. So the money 's in bank yit; but I s'pose he'll git it, some time or other." As I returned to the hotel, conscious of a melancholy pleasure at the news of her death, I could not help wondering,— "Did he hear that last farewell, far away in his Kansas cabin? Did he hear it, and fall asleep with thanksgiving in his heart, and arise in the morning to a liberated life?" I have never visited Kansas, nor have I ever heard from him since; but I know that the living ghost which haunted him is laid forever. Reader, you will not believe my story: BUT IT IS TRUE. RHOTRUDA. In the golden reign of Charlemaign the king, Had thence by slow degrees ascended up, First page, then pensioner, lastly the king's knight Save as they led him to the Princess' feet, / Most gracious, too, and liable to love: So, bending his whole heart unto this end, Ere the new spring. And well he played his part, - Making fast foes in sooth, but feeble friends. - -- And so they loved; if that tumultuous pain Be love, disquietude of deep delight, And sharpest sadness: nor, though he knew her heart His very own,- gained on the instant, too, And like a waterfall that at one leap Plunges from pines to palms, shattered at once To wreaths of mist and broken spray-bows bright, He loved not less, nor wearied of her smile; But through the daytime held aloof and strange His walk; mingling with knightly mirth and game; 4 Solicitous but to avoid alone Aught that might make against him in her mind; Yet strong in this, that, let the world have end, He had pledged his own, and held Rhotruda's troth. But Love, who had led these lovers thus along, The castle-bell! and Eginard not away! Angry the king,-yet laughing-half to view 1. And so went back to his corn-tax again. 166 A wrath of crashing steeds and men; and, in But not to gaze on these appeared the peers. Stern looked the king, and, when the court was met,- Spoke to his lords, demanding them of this: And wind and snow?" "Death!" said the angry lords; Though to his foes a circulating sword, To vex his flesh like an ingrowing nail Looked kindly on the trembling pair, and said: "Yes, Eginardus, well hast thou deserved Death for this thing; for, hadst thou loved her so, Thou shouldst have sought her Father's will in this, — Protector and disposer of his child, And asked her hand of him, her lord and thine. Thy life is forfeit here; but take it, thou! Take even two lives for this forfeit one; And thy fair portress-wed her; honor God, Love one another, and obey the king." Thus far the legend; but of Rhotrude's smile, And bristling swords, it hangs before our view, — GREEK LINES. [Concluded.] "As when a ship, by skilful steersman wrought Nigh river's mouth or foreland, where the wind Veers oft, as oft so steers, and shifts her sail,— So varied he, and of his tortuous train Curl'd many a wanton wreath in sight of Eve To lure her eye." AND Eve, alas! yielded to the blandishments of the wily serpent, as we moderns, in our Art, have yielded to the licentious, specious life-curve of Hogarth. When I say Art, I mean that spirit of Art which has made us rather imitative than creative, has made us hold a too faithful mirror up to Nature, and has been content to let the great Ideal remain petrified in the marbles of Greece. I have endeavored to show how this Ideal may be concentrated in a certain abstract line, not only of sensuous, but of intellectual Beauty,—a line which, while it is as wise and subtle as the serpent, is as harmless and loving as the sacred dove of Venus. I have endeavored to prove how this line, the gesture of Attic eloquence, expresses the civilization of Pericles and Plato, of Euripides and Apelles. It is now proposed briefly to relate how this line was lost, when the politeness and philosophy, the literature and the Art of Greece were chained to the triumphal cars of Roman conquerors, — and how it seems to have been found again in our own day, after slumbering so long in ruined temples, broken statues, and cinerary urns. The scholar who studies the æsthetical anatomy of Greek Art has a melancholy pleasure, like a surgeon, in watching its slow, but inevitable atrophy under the incubus of Rome. The wise, but childlike serenity and cheerfulness of soul, so tenderly pictured in the white stones from the quarries of Pentelicus, had, it is true, a certain sickly, exoteric life in Magna Græcia, as Pompeii and Herculaneum have proved to us. But the brutal manhood of Rome overshadowed and tainted the gentle exotic like a Upas-tree. Where, as in these places, the imported Greek could have some freedom, it grew up into a dim resemblance of its ancient purity under other skies. It had, I think, an elegiac plaintiveness in it, like a song of old liberty sung in captivity. Yet there was added to it a certain fungus-growth, never permitted by that far-off Ideal whose seeds were indigenous in the Peloponnesus, but rather springing from the rank ostentation of Rome. In its more monumental developments, under these new influences, the true line of Beauty became gradually vulgarized, and, by degrees, less intellectual and pure, till its spirit of fine and elegant reserve was quite lost in a coarse splendor. It must be admitted, however, that the Greek colonies of Italy expressed not a little of the old refinement in the lamps and candelabra and vases and bijouterie which we have exhumed from the ashes of Vesuvius. But, turning to Rome herself, the most casual examination will impress us with the fact that there the lovely Greek lines were seized by rude conquerors, and at once were bent to answer base and brutal uses. To narrow a broad subject down to an illustration, let us look at a single feature, the Cymatium, as it was understood in Greece and Rome. This is a moulding of very frequent occurrence in classic entablatures, a curved surface with a double flexure. Perhaps the type of Greek lines, as represented in the previous paper on this subject, may be safely accepted as a fair example of the Greek interpretation of this feature. The Romans, on the other hand, not being able to understand and appreciate the delicacy and deep propriety of this line, seized |