should have seen the mother and the child together, seen them as I first saw them,—the mother with her head draped in a shawl, a divine trouble in her face, and the bambino pressed to her bosom. You would have said, I think, that Raphael had found his match in common chance. I was coming in, one summer night, from a long walk in the country, when I met this apparition at the city gate. The woman held out her hand. I hardly knew whether to say, 'What do you want?' or to fall down and worship. She asked for a little money. I saw that she was beautiful and pale. She might have stepped out of the stable of Bethlehem! I gave her money and helped her on her way into the town. I had guessed her story. She, too, was a maiden mother, and she had been turned out into the world in her shame. I felt in all my pulses that here was my subject mavellously realized. I felt like one of the old convent artists who had had a vision. I rescued the poor creatures, cherished them, watched them as I would have done some precious work of art, some lovely fragment of fresco discovered in a mouldering cloister. In a month—as if to deepen and consecrate the pathos of it all—the poor little child died. When she felt that he was going, she held him up to me for ten minutes, and I made that sketch. You saw a feverish haste in it, I suppose; I wanted to
