As for the drama, we had acted for the second time Elizabeth's masterpiece, "The Youth of Michael Angelo," and there appeared to be no further opening for our talents. We little girls, with the imitative instincts of our age, were always endeavouring to reproduce on a modest scale the artistic triumphs with which the big girls entertained the school. It was hard work, because we had no plays, no costumes, and no manager. We had only Elizabeth, who rose to the urgent needs of the situation, overcoming for our sake the aversion she felt for any form of composition, and substituting for her French exercises the more inspiring labours of the dramatist. Her first attempt was slight, a mere curtain raiser, and dealt with the fortunes of a robber chief, who, after passionate pursuit of a beautiful and beloved maiden, finds out that she is his sister, and hails the news with calm fraternal joy. By a fortunate coincidence, he also discovers that an aged traveller whom he had purposed robbing is his father; so the curtain falls upon a united family, the gentle desperado quoting an admirable sentiment of Cowper's (it was in our reader, accompanied by a picture of a gentleman, a lady, a baby, and a bird-cage):-- "Domestic happiness, thou only bliss Of Paradise that has survived the fall." The success of this touching and realistic little play encouraged Elizabeth to more ambitious efforts. She set about dramatizing, with my assistance, a story from "The Boyhood of Great Painters," which told how the youthful Michael Angelo modelled a snow Faun in the gardens of Lorenzo de Medici, and how that magnificent duke, seeing this work of art before it had time to melt, showered praises and promises upon the happy sculptor. It was not a powerful theme, but there was an ancient retainer of the Buonarroti family (Elizabeth wisely reserved this part for herself), who made sarcastic remarks about his employers, and never appeared without a large feather duster, thus fulfilling all the legitimate requirements of modern comedy. What puzzled us most sorely was the Faun, which we supposed to be an innocent young quadruped, and had no possible way of presenting. Therefore, after a great deal of consideration, it was determined that a flower girl should be substituted; this happy idea (so suggestive of Michael Angelo's genius) being inspired by the plaster figures then sadly familiar to lawns and garden walks. In the story, the young artist emphasized the age of the Faun by deftly knocking out two of its front teeth,--a touch of realism beyond our range, as Viola Milton in a night-gown played the statue's part. In our drama, the Duke complained that the flower girl was too grave, whereupon Michael Angelo, with a few happy touches, gave her a smile so broad--Viola's teeth being her most prominent feature--that some foolish little girls in the audience thought a joke was intended, and laughed uproariously.