description of his travels was the theme of his Voyage en Orient, appearing in 1835. In his absence he had been elected from Bergues to the Assembly, in which, on his return, he made his first speech early in 1834. As a political orator his power was second to none.

His poems now became more philosophical. Jocelyn was printed in 1836, La Chute d'Un Ange in 1838, and Les Recueillements in 1839. A political as well as a literary sensation was produced by his Histoire des Girondins, 1847, which, in fact, was inspired by his newly acquired belief in democracy. He became Minister of Foreign Affairs of the Provisional Government in 1848, was elected to the new Assembly from ten different departments, and became a member of the Executive Committee, which made him one of the most conspicuous statesmen of Europe. He was unsuited, however, for executive authority, and soon disappeared from power, being supplanted in popular favor by Cavaignac. His rise and fall in the field of statesmanship were equally sudden, the same year including both.

Lamartine now began to pay off his debts by literary labor. Les Confidences, containing Graziella and the ever popular Raphael came from the press in 1849, followed by the Nouvelles Confidences in 1851. Among his other works are: Genièvre, 1849; Le Tailleur de Pierres de Saint Point, 1851; Fior d'Aliza, 1866; and the histories, Histoire de la Restauration, 1851-1853; Histoire de la Turquie, 1854; Histoire de la Russie, 1855. His wife died in 1863. He had not been able to save much money, and, in 1867, when he was an old man, the Government of France came to his assistance with a pension of 25,000 francs. He died, March 1, 1869, having profoundly influenced the literature of his time. His works have been translated into many languages. A beautiful monument to his memory was erected by public subscription near Mâcon, in 1874.

C.C.S.

ILLUSTRATIONS:

ALPHONSE DE LAMARTINE

RAPHAEL'S DEVOTION

THE LOVERS' COMPACT

RAPHAEL SEES JULIE IN PARIS

PROLOGUE

The real name of the friend who wrote these pages was not Raphael. We often called him so in sport, because in his boyhood he much resembled a youthful portrait of Raphael, which may be seen in the Barberini gallery at Rome, at the Pitti palace in Florence, and at the Museum of the Louvre. We had given him the name, too, because the distinctive feature of this youth's character was his lively sense of the beautiful in Nature and Art,—a sense so keen, that his mind was, so to speak, merely the shadowing forth of the ideal or material beauty scattered through-out the works of God and man. This feeling was the result of his exquisite and almost morbid sensibility,—morbid, at least, until time had somewhat blunted it. We would sometimes, in allusion to those who, from their ardent longings to revisit their country, are called home-sick, say that he was heaven-sick, and he would smile, and say that we were right.

This love of the beautiful made him unhappy; in another situation it might have rendered him illustrious. Had he held a pencil he would have painted the Virgin of Foligno; as a sculptor, he would have chiselled the Psyche of Canova; had he known the language in which sounds are written, he would have noted the aerial lament of the sea breeze sighing among the fibres of Italian pines, or the breathing of a sleeping girl who dreams of one she will not name; had he been a poet, he would have written the stanzas of Tasso's "Erminia," the moonlight talk of Shakespeare's "Romeo and Juliet," or Byron's portrait of Haidee.

He loved the good as well as the beautiful, but he loved not virtue for its holiness, he loved it for its beauty. He would have been aspiring in imagination, although he was not ambitious by character. Had he lived in those ancient republics where men attained their full development through liberty, as the free, unfettered body develops itself in pure air and open sunshine, he would have aspired to every summit like Cæsar, he would have spoken as Demosthenes, and would have died as Cato. But his inglorious and obscure destiny confined him, against his will, in speculative inaction,—he had wings to spread, and no surrounding air to bear them up. He died young, straining his gaze into the future, and ardently surveying the space over which he was never to travel.

Every one knows the youthful portrait of Raphael to which I have alluded. It represents a youth of sixteen, whose face is somewhat paled by the rays of a Roman sun, but on whose cheek still blooms the soft down of childhood. A glancing ray of light seems to play on the velvet of the cheek. He leans his elbow on a table; the arm is bent upwards to support the head, which rests on the palm of the hand, and the admirably modelled fingers are lightly imprinted on the cheek and chin; the delicate mouth is thoughtful and melancholy; the nose is slender at its rise, and slightly tinged with blue, as though the azure veins shone through the fair transparency of the skin; the eyes are of that dark heavenly hue which the Apennines wear at the approach of dawn, and they gaze earnestly forward, but are slightly raised to heaven, as though they ever looked higher than Nature,—a liquid lustre illuminates their inmost depths, like rays dissolved in dew or tears. On the scarcely arched brow, beneath the delicate skin, we trace the muscles, those responsive chords of the instrument of thought; the temples seem to throb with reflection; the ear appears to listen; the dark hair, unskilfully cut by a sister or some young companion of the studio, casts a shadow upon the hand and cheek; and a small cap of black velvet, placed on the crown of the head, shades the brow. One cannot pass before this portrait without musing sadly, one knows not why. It represents the revery of youthful genius pausing on the threshold of its destiny. What will be the fate of that soul standing at the portal of life?

Now, in idea, add six years to the age of that dreaming boy; suppose the features bolder, the complexion more bronzed; place a few furrows on the brow, slightly dim the look, sadden the lips, give height to the figure, and throw out the muscles in bolder relief; let the Italian costume of the days of Leo X. be exchanged for the sombre and plain uniform of a youth bred in the simplicity of rural life, who seeks no elegance in dress,—and, if the pensive and languid attitude be retained, you will have the striking likeness of our "Raphael" at the age of twenty-two.

He was of a poor, though ancient family, from the mountainous province of Forez, and his father, whose sole dignity was that of honor (worth all others), had, like the nobles of Spain, exchanged the sword for the plough. His mother, still young and handsome, seemed his sister, so much did they resemble each other. She had been bred amid the luxurious elegancies of a capital; and as the balmy essence of the rose perfumes the crystal vase of the seraglio in which it has once been contained, so she, too, had preserved that fragrant atmosphere of manners and language which never evaporates entirely.

In her secluded mountains, with the loved husband of her choice, and with her children, in whom she had complacently centred all the pride of her maternal heart, she had regretted nothing. She closed the fair book of youth at these three words,—"God, husband, children." Raphael especially was her best beloved. She would have purchased for him a kingly destiny, but, alas, she had only her heart with which to raise him up, for their slender fortune, and their dreams of prosperity, would ever and anon crumble to their very foundation