The young actor who thought he saw his part in Maxwell's play had so far made his way upward on the Pacific Coast that he felt justified in taking the road with a combination of his own. He met the author at a dinner of the Papyrus Club in Boston, where they were introduced with a facile flourish of praise from the journalist who brought them together, as the very men who were looking for each other, and who ought to be able to give the American public a real American drama. The actor, who believed he had an ideal of this drama, professed an immediate interest in the kind of thing Maxwell told him he was trying to do, and asked him to come the next day, if he did not mind its being Sunday, and talk the play over with him. He was at breakfast when Maxwell came, at about the hour people were getting home from church, and he asked the author to join him. But Maxwell had already breakfasted, and he hid his impatience of the actor's politeness as well as he could, and began at the first moment possible: "The idea of my play is biblical; we're still a very biblical people." He had thought of the fact in seeing so many worshippers swarming out of the churches.

In the best room of a farm-house on the skirts of a village in the hills of Northern Massachusetts, there sat one morning in August three people who were not strangers to the house, but who had apparently assembled in the parlor as the place most in accord with an unaccustomed finery in their dress. One was an elderly woman with a plain, honest face, as kindly in expression as she could be perfectly sure she felt, and no more; she rocked herself softly in the haircloth arm-chair, and addressed as father the old man who sat at one end of the table between the windows, and drubbed noiselessly upon it with his stubbed fingers, while his lips, puckered to a whistle, emitted no sound. His face had that distinctly fresh-shaven effect which once a week is the advantage of shaving no oftener: here and there, in the deeper wrinkles, a frosty stubble had escaped the razor. He wore an old-fashioned, low black satin stock, over the top of which the linen of his unstarched collar contrived with difficulty to make itself seen; his high-crowned, lead-colored straw hat lay on the table before him. At the other end of the table sat a young girl, who leaned upon it with one arm, propping her averted face on her hand. The window was open beside her, and she was staring out upon the door-yard, where the hens were burrowing for coolness in the soft earth under the lilac bushes; from time to time she put her handkerchief to her eyes.

It was on a morning of the lovely New England May that we left the horse-car, and, spreading our umbrellas, walked down the street to our new home in Charlesbridge, through a storm of snow and rain so finely blent by the influences of this fortunate climate, that no flake knew itself from its sister drop, or could be better identified by the people against whom they beat in unison. A vernal gale from the east fanned our cheeks and pierced our marrow and chilled our blood, while the raw, cold green of the adventurous grass on the borders of the sopping sidewalks gave, as it peered through its veil of melting snow and freezing rain, a peculiar cheerfulness to the landscape. Here and there in the vacant lots abandoned hoop-skirts defied decay; and near the half-finished wooden houses, empty mortar-beds, and bits of lath and slate strewn over the scarred and mutilated ground, added their interest to the scene. A shaggy drift hung upon the trees before our own house (which had been built some years earlier), while its swollen eaves wept silently and incessantly upon the embankments lifting its base several feet above the common level.

No drop-curtain, at any theatre I have seen, was ever so richly imagined, with misty tops and shadowy clefts and frowning cliffs and gloomy valleys and long, plunging cataracts, as the actual landscape of Madeira, when we drew nearer and nearer to it, at the close of a tearful afternoon of mid-January. The scenery of drop-curtains is often very holdly beautiful, but here Nature, if she had taken a hint from art, had certainly bettered her instruction. During the waits between acts at the theatre, while studying the magnificent painting beyond the trouble of the orchestra, I have been most impressed by the splendid variety which the artist had got into his picture, where the spacious frame lent itself to his passion for saying everything; but I remembered his thronging fancies as meagre and scanty in the presence of the stupendous reality before me. I have, for instance, not even mentioned the sea, which swept smoother and smoother in toward the feet of those precipices and grew more and more trans-lucently purple and yellow and green, while half a score of cascades shot straight down their fronts in shafts of snowy foam, and over their pachydermatous shoulders streamed and hung long reaches of gray vines or mosses.

Whoever carries a mental kodak with him (as I suspect I was in the habit of doing long before I knew it) must be aware of the uncertain value of the different exposures. This can be determined only by the process of developing, which requires a dark room and other apparatus not always at hand; and so much depends upon the process that it might be well if it could always be left to some one who makes a specialty of it, as in the case of the real amateur photographer. Then one's faulty impressions might be so treated as to yield a pictorial result of interest, or frankly thrown away if they showed hopeless to the instructed eye. Otherwise, one must do one's own developing, and trust the result, whatever it is, to the imaginative kindness of the reader, who will surely, if he is the right sort of reader, be able to sharpen the blurred details, to soften the harsh lights, and blend the shadows in a subordination giving due relief to the best meaning of the print. This is what I fancy myself to be doing now, and if any one shall say that my little pictures are superficial, I shall not be able to gainsay him. I can only answer that most pictures represent the surfaces of things;

I confess that with all my curiosity to meet an Altrurian, I was in no hospitable mood toward the traveler when he finally presented himself, pursuant to the letter of advice sent me by the friend who introduced him. It would be easy enough to take care of him in the hotel; I had merely to engage a room for him, and have the clerk tell him his money was not good if he tried to pay for anything. But I had swung fairly into my story; its people were about me all the time; I dwelt amid its events and places, and I did not see how I could welcome my guest among them, or abandon them for him. Still, when he actually arrived, and I took his hand as he stepped from the train, I found it less difficult to say that I was glad to see him than I expected. In fact, I was glad, for I could not look upon his face without feeling a glow of kindness for him. I had not the least trouble in identifying him, for he was so unlike all the Americans who dismounted from the train with him, and who all looked hot, worried, and anxious. He was a man no longer young, but in what we call the heyday of life, when our own people are so absorbed in making provision for the future that they may be said not to live in the present at all.

As Don Ippolito passed down the long narrow calle or footway leading from the Campo San Stefano to the Grand Canal in Venice, he peered anxiously about him: now turning for a backward look up the calle, where there was no living thing in sight but a cat on a garden gate; now running a quick eye along the palace walls that rose vast on either hand and notched the slender strip of blue sky visible overhead with the lines of their jutting balconies, chimneys, and cornices; and now glancing toward the canal, where he could see the noiseless black boats meeting and passing. There was no sound in the calle save his own footfalls and the harsh scream of a parrot that hung in the sunshine in one of the loftiest windows; but the note of a peasant crying pots of pinks and roses in the campo came softened to Don Ippolito's sense, and he heard the gondoliers as they hoarsely jested together and gossiped, with the canal between them, at the next gondola station. The first tenderness of spring was in the air though down in that calle there was yet enough of the wintry rawness to chill the tip of Don Ippolito's sensitive nose, which he rubbed for comfort with a handkerchief of dark blue calico, and polished for ornament with a handkerchief of white linen.

If there was any fellow in the Boy's Town fifty years ago who had a good reason to run off it was Pony Baker. Pony was not his real name; it was what the boys called him, because there were so many fellows who had to be told apart, as Big Joe and Little Joe, and Big John and Little John, and Big Bill and Little Bill, that they got tired of telling boys apart that way; and after one of the boys called him Pony Baker, so that you could know him from his cousin Frank Baker, nobody ever called him anything else. You would have known Pony from the other Frank Baker, anyway, if you had seen them together, for the other Frank Baker was a tall, lank, tow-headed boy, with a face so full of freckles that you could not have put a pin-point between them, and large, bony hands that came a long way out of his coat-sleeves; and the Frank Baker that I mean here was little and dark and round, with a thick crop of black hair on his nice head; and he had black eyes, and a smooth, swarthy face, without a freckle on it. He was pretty well dressed in clothes that fitted him, and his hands were small and plump.

Why should the proud stomach of American travel, much tossed in the transatlantic voyage, so instantly have itself carried from Liverpool to any point where trains will convey it? Liverpool is most worthy to be seen and known, and no one who looks up from the bacon and eggs of his first hotel breakfast after landing, and finds himself confronted by the coal-smoked Greek architecture of St. George's Hall, can deny that it is of a singularly noble presence. The city has moments of failing in the promise of this classic edifice, but every now and then it reverts to it, and reminds the traveller that he is in a great modern metropolis of commerce by many other noble edifices.

Travelogues Collection offers readers a unique glimpse into the diverse landscape, culture and wildlife of the world from the perspective of late 19th and early 20th century esteemed travelers. From the exotic islands of Fiji to the lush jungles of Africa to the bustling streets of New York City, these picturesque backdrops set the scene for amusing, and at times prejudiced, anecdotes of adventure, survival and camaraderie. Photographs and whimsical illustrations complement the descriptive text, bringing to life the colorful characters encountered along the way. The Shelf2Life Travelogues Collection allows readers to embark on a voyage into the past to experience the world as it once was and meet the people who inhabited it.

Midway of the Ponte Vecchio at Florence, where three arches break the lines of the little jewellers' booths glittering on either hand, and open an approach to the parapet, Colville lounged against the corner of a shop and stared out upon the river. It was

Matthew Lanfear had stopped off, between Genoa and Nice, at San Remo in the interest of a friend who had come over on the steamer with him, and who wished him to test the air before settling there for the winter with an invalid wife. She was one of those

On the forward promenade of the Saguenay boat which had been advertised to leave Quebec at seven o'clock on Tuesday morning, Miss Kitty Ellison sat tranquilly expectant of the joys which its departure should bring, and tolerantly patient of its delay; for

After the death of Judge Kilburn his daughter came back to America. They had been eleven winters in Rome, always meaning to return, but staying on from year to year, as people do who have nothing definite to call them home. Toward the last Miss Kilburn ta

A pioneering California writer, Charles Warren Stoddard (1843-1909) is best known for his homoerotic tales collected as South-Sea Idyls and The Island of Tranquil Delights. Stoddard was a member of San Francisco's Bohemian and journalistic circles, where he was appreciated for his wit. His literary friendships and lasting relationships included Ambrose Bierce, Ina Coolbrith, Bret Harte, Robert Louis Stevenson, W. D. Howells, Henry Adams, Joaquin Miller, Jack London, George Sterling, Bliss Carman, Yone Noguchi, George Cabot Lodge, and Samuel Clemens.