Charles Bonaparte, the grandson of Jerome Bonaparte, and Mrs. Bonaparte invited Mr. Hubbard and me to lunch with them in Baltimore to see their collection. Curious the little things one remembers of long-ago experiences! Out of that visit I recall only that Mrs. Bonaparte told me that in the garret when she came into the house where Jerome and his American wife, Elizabeth Patterson, had lived, there were literally barrels of string, short lengths neatly rolled, accumulated by the sister-in-law of Napoleon. Why remember that when the home was full of treasures on my subject? Probably because I have never been able to throw away a string without a pang. Something better worth remembering was the startling resemblance to Napoleon in a certain pose of Charles Bonaparte. As he stood talking unconsciously, hands behind his back, slightly stooped, he was the counterpart of Raffet’s Napoleon, the most natural of them all. A bit of consolation for my hasty work came from the last source I would have expected: William Milligan Sloane, the author of an elaborate study, the outcome of years of research, recently published by the _Century Magazine_. That was the way biography should be written, I told myself: years of research, of note-taking, of simmering and saturation. Then you had a ripened result. I said something of this once to Mr. Sloane. “I am not so sure,” he replied, “that all the time you want to take, all the opportunity to indulge your curiosity and run here and there on bypaths, to amuse yourself, to speculate and doubt, contribute to the soundness or value of a biography. I have often wished that I had had, as you did, the prod of necessity behind me, the obligation to get it out at a fixed time, to put it through, no time to idle, to weigh, only to set down. You got something that way—a living sketch.” I couldn’t have listened to more consoling comment. There must have been something in his characterization of “living,” for now, over forty years since it first appeared in book form, I still receive annually a small royalty check for my “pot-boiling” Napoleon! What really startled me about that sketch was the way it settled things for me, knocked over my former determinations, and went about shaping my outward life in spite of me. It weakened my resolve never again to tie myself to a position, to keep myself entirely footloose; it shoved Paris into the future and substituted Washington. It was certainly not alone a return to the security of a monthly wage, with the possibility that the wage would soon grow, that turned my plans topsy-turvy, though that had its influence. Chiefly it was the sense of vitality, of adventure, of excitement, that I was getting from being admitted on terms of equality and good comradeship into the McClure crowd.