One cannot be many hours in Capri without being reminded of its tutelary genius Tiberius. In fact as Mr. A. J. Symonds has forcibly expressed it, "the hoof-print of illustrious crime is stamped upon the island." All the _religio loci_, if such a phrase is permissible in connection with Tiberius, seems centered in this unsavoury personality. We cannot get away from him. His palaces and villas seem to occupy every prominent point in the island. Even the treasure-trove of the antiquary bears undying witness to his vices, and shows that Suetonius, in spite of recent attempts to whitewash the Emperor's memory, did not trust to mere legends and fables for his biography. Even the most ardent students of Roman history would surely be glad to be rid of this forbidding spectre that forces itself so persistently on their attention. To judge by the way in which the simple Capriotes seek to perpetuate the name of their illustrious patron, one might almost suppose that the Emperor, whose name is proverbial as a personification of crime and vice, had gone through some process akin to canonization. Capri, though still famous for beautiful women, whose classic features, statuesque forms, and graceful carriage, recall the Helens and the Aphrodites of the Capitol and Vatican, and seem to invite transfer to the painter's canvas, can no longer be called the "artist's paradise." The pristine simplicity of these Grecian-featured daughters of the island, which made them invaluable as models, is now to a great extent lost. The march of civilization has imbued them with the commercial instinct, and they now fully appreciate their artistic value. No casual haphazard sketches of a picturesque group of peasant girls, pleased to be of service to a stranger, no impromptu portraiture of a little Capriote fisher-boy, is now possible. It has become a "sitting" for a consideration, just as if it took place in an ordinary Paris atelier or a Rome studio. The idea that the tourist is a gift of Providence, sent for their especial benefit, to be looked at in the same light as are the "kindly fruits of the earth," recalls to our mind the quaint old Indian myth of Mondamin, the beautiful stranger, with his garments green and yellow, from whose dead body sprang up the small green feathers, afterwards to be known as maize. However, the Capriotes turn their visitors to better account than that; in fact, their eminently practical notions on the point appear to gain ground in this once unsophisticated country, while the recognized methods of agriculture remain almost stationary. The appearance of a visitor armed with sketch-book or camera is now the signal for every male and female Capriote within range to pose in forced and would-be graceful attitudes, or to arrange themselves in unnatural conventional groups: aged crones sprout up, as if by magic, on every doorstep; male loungers "lean airily on posts"; while at all points of the compass bashful maidens hover around,