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AN ARTIST'S PUPHEL.

A Story of Titian and Venice.

“Thou dost admire that picture, | Giulio ?” said the great painter Tiziano) Vecelli. of Venice. to his favourite pupil, Giulio Mantoni.

“Si, si, signor; but whose portrait is it? When was it painted, and where has it been until now ?”

“Thou dost not ask who painted it. Hast no curiosity ; hast no wish to learp this?”

“Curiosity enough, as thou well know- est, signor, to prove my descent from Eve, whose falling that way lost a para dise to Adam. But I need not ask who painted thus, for there is only one who can paint thus. There is but one pencil which can blend such beautiful coloring with such free drawing. Signor maestro, if thou wouldst have thy pictures unre» cognized thou must even hang them with phe painting to the wall.”

“Flattery, Giulio—rank flattery ! But [ believe thou meanest what thou sayest. As to this portrait

“Ay, signor, whose likeness is it?’

“As thou art anxious to know, my Giulio, and often playest a trick upon thy master, methinks I shall not tell thee, ‘Thou mayest look grave if thou wilt, but { shall not tell thee—now. Call my gon dolieri; the day is pleasant, and they ghali row me across the Lido. Addio, addio !’’

The painter went on his way across the Jaguue, and smiled as one smiles at 4 jucky thought or a successful specula- tion. His musings were pleasant, and as he lay at “listless length’’ within the canopy of his gondola, they found such utterance as this:

“He is a good youth, and hath a proper love for art; he is studious, too, gentle in manner, affectionate, and with a warm heart. My Beatrice is a tender dove, and it will be well if she can find a shelter in his breast. flow he gazed upon the picture! If he admire the original only half as much, the train will oon be in flames. Ie is a goodly youth.” And with such thoughts did Titian take council on his brief aud pleasant voyage to the Lido.

Meanwhile his pu;ii employed himself in looking at the portrait more minutely than he heretofore had done. The re- newed and closer examination confirmed his original opinion of his excellence, not alone as a work of art, but as the repre- sentation of a character of feminine love- liness more attractive than he had yet be- held in Venice. The portrait represented a beautiful girl, just in the spring of youth, bearing aloft in her hand a mas- sive casket, and, pausing, as it were, ip her onward progress to cast a smile upon the beholder—like « sudden sunburst ! The face was one of exquisite beauty, but the naive and cheerful expression, the hearty joyousness, the guileless and trust- ing eloquence of aspect, formed a part of intellectual loveliness far greater than usually accompanies more beauty of fea- tures. For—though to say so be treason against the majesty of that sex whom we generalize as “‘ fair’”’—I fear it is but too true that the perfections ot personal and mental beauty do not often meet in one. Yet, even now dol remember to have met that union.

The young artist admired the portrait for some time and then fell into a medi- tative humor—a thing unusual for him, for, though he was a Spaniard, he was a

temperement, and it is not the wont of such to anticipate the contemplative thoughts which they believe belong to the mature season of manhood. The youth thought and thought and thought, until when Titian returned, he found his pupil scated opposite the portrait, with his pencil in his hand and his head down- watt arcdping—eve as in his mood of poetic thought I have seen that of Words-j worth, the great master of the lyre. Titian came near, but Giulio was breathing heavy, ily; close to him and touched his shoulder. The youth upstarted! He had fallen asleep before the portrait !

Ob, what a very unloverslike accident! But a siesta is a treasure to the Spaniard, and the day was dull, and it was wearis some to be alone, and, if the truth must be told, Giulio, who had alla painter’s eye for beauty, had been up half the pro- ceeding night serenadivg a beautiful dama, whose bright eyes had fascinated him one evening as he passed beneath the windows of her father’s palace.

Giulio Mantoni had been Titian’s pupil for some six wonths previous to the inci~ dent of the portrait and the slumber. Without any introduction had he come, but had paid a large sum for the privilege ef instruction. After a time his gentle manners, his love for the art and his rapid progress in it had so fur won upon Titian —a lone and widowed man—as to make him solicit that Giulio would become an inmate in his house. ‘Titian was soli- tary, indeed, for his son was a wild youth, who had left Venice for Cyprus in the suit of the admiral, and his daughter Beatrice was in a conventin the lriuli, of which one of his relatives was lady principal. Giulio Mantoni accepted the invitation, and for three months preceding the day on which this slight tale commences, he

youth of quick imagination and af

~e

had been to Titian affectionate, kind, and obedient asa son. He was so skilfal with his pencil, too, that Titian was reminded

by his skill and enthusiaom of what his! son had been at tie same age, some thirty |

years before T'o be Continued.

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