Rocjean consoled Caper with the reflection that his painting was refused admittance because the donkey had gradually grown to be emblematical of the state--in fact, was so popularly known to the _forestieri_ as the Roman Locomotive, with allusions to its steam whistle, &c., highly annoying to the chief authorities--and therefore, its introduction in a painting was intolerable, and not to be endured. The works of art included contributions from Americans, Italians, Belgians, Swiss, English, Hessians, French, Dutch, Danes, Bavarians, Spaniards, Norwegians, Prussians, Russians, Austrians, Finns, Esthonians, Lithuanians, Laplanders, and Samoyedes. There was little evidence of the handiwork of mature artists; they either withheld their productions from dislike of the managers, or through determination of giving their younger brethren a fair field and a clear show. A careful observer could see that these young artists had not profited to the fullest extent by the advantages held out to them through a residence in the Imperial City. There was a wine-yness, and a pretty-girl-yness, and tobacco-ness, about paintings and sculpture, that could have been picked up just as well in Copenhagen or Madrid or New York as in Rome. Michael Angelo evidently had not 'struck in' on their canvases, or Praxiteles struck out from their marbles. Theirs was an unrevealed religion to these neophytes. The study of a piece of old Turkey carpet, or a camel's hair shawl, or a butterfly's wing, or a bouquet of many flowers would have taught the best artist in the exhibition more concerning color than he would learn in ten years simply copying the best of the old painters, who had themselves studied directly from these things and their like.