"Well," he confided, "I'm building another just like it. It's costing me three hundred dollars, and the passenger-cars will cost as much more. Now, I'm going to fix up some scenery on my roof--a gorge, a line of woods, a river, and a bridge. I'm going to make the water tumble over big rocks just above the bridge and run underneath it. Then I'm going to lay this track around these rocks, through the woods, across the bridge and off into the woods again. "I'm going to put on the two trains and time them so they'll meet on the bridge. Just when they come into view where they can see each other, a post on the side of the track will strike the cabs in such a way as to throw the firemen out on the steps just as if they were going to jump. When the engines take the bridge they'll explode caps that will set fire to oil and powder under the cars and burn them up." "Then what?" I asked. "Well, I've got it planned automatically so that you will see people jumping out of the cars and tumbling down on the rocks, the flames springing up and taking to the cars, and all that. Don't you believe it?" he added, as I smiled at the idea. "Look here," and he produced a model of one of the occupants of the cars. He labored for an hour to show all the intricate details, until I was compelled to admit the practicability and novelty of the idea. Then he explained that instantaneous photography, as it was then called, was to be applied at such close range that the picture would appear life size. The actuality of the occurrence would do the rest. Skepticism still lingered with me for a time, but when I saw the second train growing, the figures and apparatus gradually being modeled, and the correspondence and conferences going on between the artist and several companies which wished to gain control of the result, I was perfectly sure that his idea would some day be realized. As I have said, when I first met S---- he had not realized any of his dreams. It was just at that moment that the tide was about to turn. He surprised me by the assurance, born of his wonderful virility, with which he went about all things. "I've got an order from the _Ladies' Home Journal_," he said to me one day. "They came to me." "Good," I said. "What is it?" "Somebody's writing up the terminal facilities of New York." He had before him an Academy board, on which was sketched, in wash, a midnight express striking out across the Jersey meadows with sparks blazing from the smoke stacks and dim lights burning in the sleepers. It was a vivid thing, strong with all the strength of an engine, and rich in the go and enthusiasm which adhere to such mechanisms. "I want to make a good thing of this," he said. "It may do me some good." A little later he received his first order from Harper's. He could not disguise that he was pleased, much as he tried to carry it off with an air. It was just before the Spanish war broke out, and the sketches he was to do related to the navy.