There is probably no pleasure equal to the pleasure of climbing a dangerous Alp; but it is a pleasure which is confined strictly to people who can find pleasure in it. I have not jumped to this conclusion; I have traveled to it per gravel train, so to speak. I have thought the whole thing out, and am quite sure I am right. A born climber’s appetite for climbing is hard to satisfy; when it comes upon him he is like a starving man with a feast before him; he may have other business on hand, but it must wait. Mr. Girdlestone had had his usual summer holiday in the Alps, and had spent it in the usual way, hunting for unique chances to break his neck; his vacation was over, and his luggage packed for England, but all of a sudden a hunger had come upon him to climb the tremendous Weisshorn once more, for he had heard of a new and utterly impossible route up it. His baggage was unpacked at once, and now he and a friend, laden with knapsacks, ice-axes, coils of rope, and canteens of milk, were just setting out. They would spend the night high up among the snows, somewhere, and get up at two in the morning and finish the enterprise. I had a strong desire to go with them, but forced it down—a feat which Mr. Girdlestone, with all his fortitude, could not do. THE OLD MASTERS We visited the picture galleries and the other regulation “sights” of Milan—not because I wanted to write about them again, but to see if I had learned anything in twelve years. I afterwards visited the great galleries of Rome and Florence for the same purpose. I found I had learned one thing. When I wrote about the Old Masters before, I said the copies were better than the originals. That was a mistake of large dimensions. The Old Masters were still unpleasing to me, but they were truly divine contrasted with the copies. The copy is to the original as the pallid, smart, inane new waxwork group is to the vigorous, earnest, dignified group of living men and women whom it professes to duplicate. There is a mellow richness, a subdued color, in the old pictures, which is to the eye what muffled and mellowed sound is to the ear. That is the merit which is most loudly praised in the old picture, and is the one which the copy most conspicuously lacks, and which the copyist must not hope to compass. It was generally conceded by the artists with whom I talked, that that subdued splendor, that mellow richness, is imparted to the picture by _age_. Then why should we worship the Old Master for it, who didn’t impart it, instead of worshiping Old Time, who did? Perhaps the picture was a clanging bell, until time muffled it and sweetened it. In conversation with an artist in Venice, I asked,