sprites, angels and fiends, the authors of whose being had long ago drifted away on the ocean of poverty which sweeps about the world, and beneath which sometimes the richest-freighted ships go down. In the twenty years that Signora Anina has let her rooms to artists many such tragedies have written significant and dreary lines upon her walls. That studio-salon was rich not alone in painting and sculpture. The whatnot was a museum whither might come the Northern Goth and Southern Vandal to learn what a Roman home can teach of the artistic taste that Matthew Arnold declares to be the natural heritage only of the nation which rocked the cradle of the Renaissance when its old Romanesque and Byzantine parents died. That whatnot was covered with tiny china dogs and cats, such as we benighted American Goths buy for ten cents a dozen to fill up the crevices in Billy's and Bobby's Christmas stockings. Fancy inkstands stood cheek by jowl with wire flower-baskets that were stuffed with crewel roses of such outrageous hues as would make the Angel of Color blaspheme. Cut-glass spoon-holders kept in countenance shining plated table-casters eternally and spotlessly divorced from the purpose of their being. There were gaudy china vases by the dozen and simpering china shepherdesses by the score. There were plaster casts of the whole of Signora Anina's family of nine children, from the elder fiery Achilles to the younger hysterical Niobe. There were perfume-bottles enough to start a coiffeur in business, and woolly lambs enough for a dozen pastoral poems or as many bucolic butchers. But the piano was piled high with Beethoven's sonatas and Chopin's delicious dream-music, while a deluge of French novels had evidently surged over that palace of the Leatherstonepaughs. When the family took possession of their share of the palazzo a corner of this studio-salon was dedicated to a peculiar member of their family. From that corner she seldom moved save as she swept away in some such elegant costume as the others wore only upon gala-occasions, or in some picturesque or wildly-fantastic garb that would have lodged her in a policeman's care had she ever been suffered to escape thus from the palace. All day long, day after day, she tarried in her corner mute and motionless, eying all comers and goers with a haughty stare. Sometimes she leaned there with rigid finger pressed upon her lip, like a statue of Silence; sometimes her hands were pressed pathetically to her breast, like a Mater Dolorosa; sometimes both arms hung lax and limp by her side, like those of a heart-broken creature; and sometimes she wildly clutched empty air, like a Leatherstonepaugh enthusiastically inebriated or gone stark, staring, raving mad! [Illustration: ANTIGNONE.]