The principle of this prolonged arrest, which I insist on prolonging a little further, is doubtless in my instinct to grope for our earliest aesthetic seeds. Careless at once and generous the hands by which they were sown, but practically appointed none the less to cause that peculiarly flurried hare to run--flurried because over ground so little native to it--when so many others held back. Is it _that_ air of romance that gilds for me then the Barnum background--taking it as a symbol; that makes me resist, to this effect of a passionate adverse loyalty, any impulse to translate into harsh terms any old sordidities and poverties? The Great American Museum, the down-town scenery and aspects at large, and even the up-town improvements on them, as then flourishing?--why, they must have been for the most part of the last meanness: the Barnum picture above all ignoble and awful, its blatant face or frame stuck about with innumerable flags that waved, poor vulgar-sized ensigns, over spurious relics and catchpenny monsters in effigy, to say nothing of the promise within of the still more monstrous and abnormal living--from the total impression of which things we plucked somehow the flower of the ideal. It grew, I must in justice proceed, much more sweetly and naturally at Niblo's, which represented in our scheme the ideal evening, while Barnum figured the ideal day; so that I ask myself, with that sense of our resorting there under the rich cover of night (which was the supreme charm,) how it comes that this larger memory hasn't swallowed up all others. For here, absolutely, _was_ the flower at its finest and grown as nowhere else--grown in the great garden of the Ravel Family and offered again and again to our deep inhalation. I see the Ravels, French acrobats, dancers and pantomimists, as representing, for our culture, pure grace and charm and civility; so that one doubts whether any candid community was ever so much in debt to a race of entertainers or had so happy and prolonged, so personal and grateful a relation with them. They must have been, with their offshoots of Martinettis and others, of three or four generations, besides being of a rich theatrical stock generally, and we had our particular friends and favourites among them; we seemed to follow them through every phase of their career, to assist at their tottering steps along the tight-rope as very small children kept in equilibrium by very big balancing-poles (caretakers here walking under in case of falls;) to greet them as Madame Axel, of robust maturity and in a Spanish costume, bounding on the same tense cord more heavily but more assuredly; and finally to know the climax of the art with them in Raoul or the Night-Owl and Jocko or the Brazilian Ape--and all this in the course of our own brief infancy. My impression of them bristles so with memories that we seem to have rallied to their different productions with much