On his first arrival in Rome, he had purchased one of those sprightly little _vetturo_ dogs, all wool and tail, that the traveler remarks mounted on top of the traveling carriages that enter and leave Rome. With a firm foothold, they stand on the very top of all the baggage that may be piled on the roof of the coach; and there, standing guard and barking fiercely, seem to thoroughly enjoy the confusion attendant on starting the horses or unloading the baggage. They are seen around the carriage-stands where public hacks are hired, and as soon as one moves off, up jumps the _vetturo_ dog alongside the driver, and never leaves the vehicle until it stops; then, if he sees another hack returning to the city, he will jump into that, and be carried back triumphant. This sounds like fiction; but its truth will be confirmed by any one who has ever noticed the peculiarities of this breed of dogs, which love to ride. Caper kept this dog in his studio, and had already made several very life-like studies of him. One morning, leaving his lodgings earlier than usual, he met on the stairway of his house a countryman driving a goat up-stairs to be milked; the Romans thus having good evidence that when they buy goat's milk, they don't purchase water from the fountains. As Caper was going out of the door that led into the street, he saw among the flock of goats assembled there, a patriarchal old Billy, whose beard struck him with delight. He was looking at him in silent veneration, when the goats'-milk man came down-stairs, driving the ewe before him. He asked the man if he would sell the patriarch; but found that he would not. He promised, however, to lend him to Caper until the next day, for a good round sum, to be paid when the goat was delivered at the studio, which the man said would be in the course of an hour. Our artist then went down to the Greco, where he breakfasted; and there met Rocjean, who proposed to him to go that morning to the Piazza Navona, as it was market-day, and they would have a fine chance to take notes of the country-people, their costumes, etc. They first went around to Caper's studio, where they had only to wait a short time before the milk-man came, driving the old Billy-goat up-stairs before him. Caper made him fast with a cord to a heavy table, the top of which was a vast receptacle of sketch-books, oil-colors, books, and all kinds of odds and ends.