"Who are you?" he said, with a laugh. "I am the 'Dimbula,' of course. I've never been anything else except that--and a fool." The tugboat, which was doing its very best to be run down, got away just in time, and its band was playing clashily and brassily a popular but impolite air: In the days of old Rameses--are you on? In the days of old Rameses--are you on? In the days of old Rameses, That story had paresis-- Are you on--are you on--are you on? "Well, I'm glad you've found yourself," said the steam. "To tell the truth, I was a little tired of talking to all those ribs of stringers. Here's quarantine. After that we'll go to our wharf and clean up a little, and next month we'll do it all over again." A CENTURY OF PAINTING. NOTES DESCRIPTIVE AND CRITICAL.--GOYA AND HIS CAREER.--FOUR ENGLISH PAINTERS OF FAMILIAR LIFE.--GÉRICAULT, INGRES, AND DELACROIX. BY WILL H. LOW. Looking backward to the first quarter of this century, it is hardly too sweeping an assertion to say that, with a single exception, there was little that was important in the way of painting outside of France and England. There were local reputations in all the other countries, practitioners of the art who joined to a respectable proficiency in painting an adhesion to the traditions which had been handed down to them. These men, in their time and place, were notable; and in the museums of their respective countries their works remain of chronological interest to students of painting. But to the larger public which these papers address, they are of little importance, having exercised but slight influence on contemporaneous art. The exception already noted was in Spain, and there only in the case of a single painter. Francisco Goya y Lucientes, "Pintor Español," as he delighted to call himself, would be, indeed has been, a fascinating subject for picturesque biography. Charles Yriarte, the well-known French art critic, has given the world a most interesting and complete story of Goya's life, which, though it is only separated from our own day by a span of seventy years, chronicles the exploits of one who in the history of art must hark back to Benvenuto Cellini in the sixteenth century to find his parallel.