While I was sketching, my attention was called off for a moment by the cries of birds and the bleatings of sheep. I looked around, but could see nothing of the animals that uttered them. They were repeated, and appeared to come from the summits of the trees. On looking more narrowly, I perceived six of the robbers perched on the tops of oaks, which grew on the breezy crest of the mountain, and commanded an uninterrupted prospect. From hence they were keeping a look-out, like so many vultures; casting their eyes into the depths of the valley below us; communicating; with each other by signs, or holding discourse in sounds, which might be mistaken by the wayfarer for the cries of hawks and crows, or the bleating of the mountain flocks. After they had reconnoitred the neighborhood, and finished their singular discourse, they descended from their airy perch, and returned to their prisoners. The captain posted three of them at three naked sides of the mountain, while he remained to guard us with what appeared his most trusty companion. I had my book of sketches in my hand; he requested to see it, and after having run his eye over it, expressed himself convinced of the truth of my assertion, that I was a painter. I thought I saw a gleam of good feeling dawning in him, and determined to avail myself of it. I knew that the worst of men have their good points and their accessible sides, if one would but study them carefully. Indeed, there is a singular mixture in the character of the Italian robber. With reckless ferocity, he often mingles traits of kindness and good humor. He is often not radically bad, but driven to his course of life by some unpremeditated crime, the effect of those sudden bursts of passion to which the Italian temperament is prone. This has compelled him to take to the mountains, or, as it is technically termed among them, “andare in Campagna.” He has become a robber by profession; but like a soldier, when not in action, he can lay aside his weapon and his fierceness, and become like other men.