in a vast glade, a sort of public common which Nature had reserved in the forest. There, aided by a black-faced Sapajo called Ebony, after the other servant of Rustan, who became his slave after the manner of men, who find in colour a sufficient reason for drawing the line which separates master from slave, Topaz set up an elegant hut of branches beneath an ample shade of banana leaves, and above his door he placed a signboard, bearing the fable, “Topaz, painter after the Parisian fashion;” and on the door itself, in smaller letters, “Entrance to the Studio.” After sending a number of magpies to announce his arrival, to all the country round, he opened his shop. In order to place his services within the reach of all—as no currency had ever yet been instituted—Topaz adopted the ancient custom of receiving payment in kind. A hundred nuts, a bunch of bananas, six cocoa-nuts, and twenty sugar-canes, was the price of a portrait. As the inhabitants of the Brazilian forest were still in the golden age, they knew nothing whatever about property, heritage, or the rights of mine and thine. They knew that the earth and its fruits were free to all, and that a good living might be picked off the trees, and an indifferent living off the ground. Topaz had many difficulties to contend against; by no means the least was the fact that no one is great in his own country, and especially among his own friends. The first visits he received were from monkeys, a quick and curious, but also a very spiteful, race. Hardly had they seen the camera in action before they set to work to make spurious imitations of the dark box. Instead of admiring, honouring, and recompensing their brother for his toil in bringing this art-treasure to their country, they strove to discover his secret, and reap the profits of his labour. Here, then, was our artist at war with counterfeiters. Happily it was not a simple case of reprinting an English book in Germany or America. The apes might puzzle their brains, and toil with their four feet, and even combine one with the {167} other—amongst them, as elsewhere, one can easily find accomplices to carry out a bad scheme,—all they could do, was to make a box and cover like the camera and focusing cloth of Topaz; but they had neither lens nor chemicals. After many trials and as many failures, they became furious, and planned the ruin of Topaz; thus proving the truth of the saying, “One must look for enemies among one’s fellow-countrymen, friends, and relations; even in one’s own house”— “Araña; quien te araño Otra araña como yo.”